Delphi Masterworks of Johann Sebastian Bach (Illustrated) (Delphi Great Composers Book 3)
Page 29
Wustmann draws attention465 to the libretto of Cantata No. 38, a paraphrase of Luther’s Psalm 130. He finds in it, and reasonably, an expression of “Jesus religion” very alien to Picander’s muse, and suggests the younger Christian Weiss as the author of it. Like his father, he was Bach’s colleague, the godfather of his daughter, and undoubtedly on terms of close friendship with him. But if he wrote the libretto of Cantata No. 38, probably it is not the only one. The same note rings in four more of the Choral Cantatas,466 which may be attributed tentatively to Weiss, though their ascription to Bach would be equally congruous.
Returning, however, to the seventy-two libretti of the later Leipzig period we reach this result: More than half of them (thirty-nine) are congregational hymns, all but two of which are of the paraphrased type in which we detect the work of Picander, Bach himself, and perhaps the younger Weiss. Of the remaining thirty-three original libretti Marianne von Ziegler heads the list with nine, and perhaps ten.467 Bach follows with a problematical six,468 Picander with five,469 the elder Weiss with four,470 Neumeister with one.471 One text is taken from the Bible.472 Another consists of a single stanza of a hymn by Martin Behm.473 Five are by authors unknown or undetected.474
But, as was said at the outset, the attribution of particular libretti to individual writers is conjectural, except in comparatively few cases. Yet, unsatisfying as it is, this guess-work reveals with approximate correctness the extent to which Bach drew upon his own and other people’s abilities for the texts he needed. Summarising our conclusions, we discover that about one-quarter (fifty-four) of the 202 libretti set by Bach between the years 1704 and 1744 were provided by the hymn-book. It is shown elsewhere475 that all but eleven of them are taken from Paul Wagner’s volumes. The elder Weiss comes next with thirty-three libretti. Bach follows with thirty, Salomo Franck with twenty-one, Picander with twenty (exclusive of his arrangements of Choral Cantata texts). Marianne von Ziegler contributes ten, Neumeister seven, Eilmar and Helbig two each, Gottsched and Martin Behm one each. Three libretti are taken from the Bible or Church liturgy. Eighteen remain anonymous.
The literary qualities of the libretti are not under discussion here. They have a characteristic, however, on which one cannot forbear from remarking. Indifferent literature as, for the most part, they are — children of their period and blemished with its imperfections — they enshrine an extraordinarily interesting anthology of the religious poetry of the sixteenth, seventeenth, and eighteenth centuries. They expose the evangelical thought of Germany from the age of Luther to that of Bach, and are particularly rich in the lyrical fervour of the Reformation itself. Of the seventy-seven hymn-writers whom Bach includes in his collection, so many as forty-four belong to the sixteenth century. Only thirteen of them touch Bach’s own period. And a similar bias to the Reformation epoch is observable in his choice of the tunes of the Chorals, which are absent from only twenty-one of the Cantatas. By far the greater number of them are coeval with the hymns themselves; that is, they date from the Reformation and behind it.
Here clearly is the source of Bach’s inspiration, the master-key of his art. He touches Luther, is in a sense his complement, his art builded on the foundations Luther laid, consecrated to the ends Luther vindicated, inspired by a dedication of himself to God’s service not less exalted — a great artist, a great Protestant, a great man.476
NOTE. — Cantatas distinguished by an asterisk (*) are for Soli voices only (S.A.T.B. unless the particular voices are stated); those marked (†) include, in addtion, simple four-part Chorals: the rest contain concerted Choruses.
(1) COMPOSED AT ARNSTADT (see also Nos. 150, 189.)
No.
Date.
Title.
Author of Libretto.
Composition of the Text.
15
1704. Easter Day (revised for subsequent performance).
Den du wirst meine Seele nicht in der Hülle lassen (Psalm xvi. 10).
?Bach
Part I. Psalm xvi. 10; St. Mark xvi. 6; Part II. seven (six) stanzas of the anonymous hymn, “Auf freue dich, Seele, du bist nun getröst”; Stanza iv. of Nikolaus Hermann’s hymn “Wenn mein Stündlein vorhanden ist.” The rest of the libretto perhaps is by Bach.
(2) COMPOSED AT MÜLHAUSEN (see also Nos. 150, 189.)
No.
Date.
Title.
Author of Libretto.
Composition of the Text.
131
1707. ? for llth, 19th, 21st, or 22nd S. after Trinity.
Aus der Tiefe rufe ich, Herr, zu dir (Psalm cxxx.)
Georg Christian Eilmar.
Psalm cxxx.; Stanzas ii. and v. of Bartholomäus Ringwaldt’s hymn, “Herr Jesu Christ, du höchstes Gut.” T. B. Soli.
71
1708. Feb. 4. Town Council Inauguration.
Gott ist mein Konig (Psalm lxxiv. 12).
Bach (or Eilmar).
Psalm lxxiv. 12, 16, 17, 19; 2 Sam. xix. 35, 37; Deuteronomy xxxiii. 25; Gen. xxi. 22; Stanza vi. of Johann Heermann’s hymn, “O Gott, du frommer Gott”; rest of libretto original. A. T. B. Soli.
196
1708. June 5. Wedding of Johann Lorenz Stauber (at Dornheim).
Der Herr denket an uns (Psalm cxv. 12).
Psalm cxv. 12-15.
The libretto consists exclusively of the Psalm verses. S. T. B. Soli.
(3) COMPOSED AT WEIMAR. (See also Nos. 12, 72, 80, 164, 168, 186.)
No.
Date.
Title.
Author of Libretto.
Composition of the Text.
*189
c. 1707-10. Visitation of the B.V.M.
Meine Seele rühmt und preist.
Author unknown. ?Composed at Muhlhausen.
A paraphrase of the “Magnificat.” Tenor Solo.
150
c. 1710. ?Occasion.
Nach dir, Herr, verlanget mich (Psalm xxv. 1).
?Bach. ?Composed at Mühlhausen.
Psalm xxv. 1, 2, 5, 15; rest of libretto perhaps by Bach. See Bach-Jahrbuch for 1913, p. 39, on authenticity of Cantata.
106
?1711. Funeral of Rector Philipp Grossgebauer (Weimar); or ?1707 (Sept.) funeral of Thomas Lammerhirt (Erfurt).
Gottes Zeit ist die aller-beste Zeit (Actus tragicus).
?G. C. Eilmar (or Bach). ?Composed at Mühlhausen.
Acts xvii;. 28; Psalm xc. 12; Isaiah xxxviii. 1; Ecclesiasticus xiv. 17; Rev. xxii; 20; Psalm xxxi. 5; St. Luke xxiii. 43; Stanza i. of Luther’s hymn, “Mit Fried’ und Freud’ ich fahr’ dahin”; Stanza vii;. of Adam Reissner’s hymn, “In dich hab’ ich gehoffet, Herr.” A. B. Soli.
18
1714 (or 1713). Sexagesima.
Gleich wie der Regen und Schnee vom Himmel fällt (Isaiah lv. 10-11).
Erdmann Neumeister “Fünffache Kirchen-Andachten” (Leipzig, 1716) (Ser. iii.).
Isaiah lv. 10, 11; four clauses of the Litany; Stanza viii. of Lazarus Spengler’s hymn, “Durch Adams Fall ist ganz verderbt”; rest of libretto original. S. T. B. Soli.
*160
1714 (or 1713). Easter Day.
Ich weiss, dass mein Erlöser lebt.
Erdmann Neumeister (Ibid., Ser. I.). Slight verbal alterations by Bach.
Original throughout. Tenor Solo.
21
1714. Third S. after Trinity and General Use.
Ich hatte viel Bekümmernis (Psalm xciv. 19)
Spitta (i. 531) attributes text to Salomo Franck.
Part I,: Psalm xciv. 19; Psalm xlii. 5. Part ii.: Psalm cxvi. 7; Rev. v. 12, 13; Stanzas ii. and v. of Georg Neumark’s hymn, “Wer nur den lieben Gott lasst walten”; rest of libretto original.
*199 N.B.G.
c. 1714. Eleventh S. after Trinity.
Mein Herze schwimmt im Blut.
The title is from a Neumeister text for this Sunday. ?By Bach.
Stanza iii. of Johann Heermann’s hymn, “Wo soll ich fliehen hin”; rest of libretto original. Soprano solo.
61
Nun komm, der Heiden Heiland.
Erdmann Neumeister, “Fünffache Kirchen-Andachten” (Leipzig, 1716), (Ser. IV).
Stanza i. of Luther’s hymn, “Nun komm, der Heiden Heiland”; Rev. iii. 20; part of stanza vii. of Philipp Nicolai’s hymn, “Wie schön leuchtet der Morgenstern”; rest original. S. T. B. Soli.
142
1714 (or 1712). Christmas Day.
Uns ist ein Kind geboren (Isaiah ix. 6).
Erdmann Neumeister (Ibid., Ser. I.). Textually, the last three movements are altered, perhaps by Bach, whose authorship of the Cantata, however, is questioned (Bach-Jahrbuch, 1912, p. 132).
Isaiah ix. 9; Psalm lxix. 30; Stanza v. of Caspar Fuger’s hymn, “Wir Christenleut”; rest of libretto original (see Spitta i. 630 on Bach’s emendations). A. T. B. Soli.
182
1715 (or l714).Palm Sunday (used also for the Annunciation).
Himmelskönig, sei wilkommen.
Spitta (i. 539) suggests Salomo Franck, whose characteristics it displays.
Psalm xl. 7, 8; Stanza xxxiii. of Paul Stockmann’s hymn, “Jesu Leiden, Pein und Tod”; rest of libretto original. A. T. B. Soli.
31
1715. Easter Day. Revised in ?1723. (Schweitzer, ii. 141n).
Der Himmel lacht, die Erde jubiliret.
Salomo Franck (“Evangelisches Andachts-Opffer” Weimar, 1715, p. 75).
Stanza v. (posthumous) of Nikolaus Herman’s hymn, “Wenn mein Stündlem vorhanden ist”; rest of libretto original. S. T. B. Soli.
†l85
1716. Fourth S. after Trinity.
Barmherziges Herze der ewigen Liebe.
Salomo Franck (Ibid.,p. 128).
Stanza i. of Johannes Agricola’s hymn, “Ich ruf’ zu dir, Herr Jesu Christ”; rest of libretto original.
161
1715. Sixteenth S. after Trinity (also for Purification).
Komm, du süsse Todesstunde.
Salomo Franck (Ibid., p. 162); verbal alterations by Bach.
Stanza iv. of Christoph Knoll’s hymn, “Herzlich thut mich verlangen”; rest original. A. T. Soli.
†162
1715. Twentieth S. after Trinity.
Ach, ich sehe, jetzt da ich zur Hochzeit gehe.
Salomo Franck (Ibid., p. 172).
Stanza vii. of Johann Georg Albinus’ hymn, “Alle Menschen müssen sterben”; rest of libretto original.
†163
1715. Twenty-third S. after Trinity.
Nur Jedem das Seine.
Salomo Franck (Ibid., p. 182).
Stanza xi. (suggested by Spitta i. 557) of Johann Heermann’s hymn, “Wo soll ich fliehen hin”; rest of libretto original.
*132
1715. Fourth S. in Advent.
Bereitet die Wege, bereitet die Bahn.
Salomo Franck (Ibid., p. 8)
Stanza v. of Elisabethe Cruciger’s hymn, “Herr Christ, der einig’ Gott’s Sohn”; rest of libretto original.
*152
1715 (or 1714). S. after Christmas
Tritt auf die Glaubensbahn.
Salomo Franck (Ibid., p. 19).
Original throughout. S. and B. Soli.
†155
1716. Second S. after the Epiphany.
Mein Gott, wie lang’, ach lange.
Salomo Franck (Ibid., p. 32).
Stanza xii. of Paul Speratus’ hymn, “Es ist das Heil uns kommen her”; rest of libretto original.
†59
1716. WhitSunday Expanded in ?1736 (No.74 infra).
Wer mich liebet, der wird mein Wort halten (St. John xiv. 23).
Erdmann Neumeister (“Funffache Kirchen-Andachten,” Ser. IV.).
St. John xiv. 23; Stanza i. of Luther’s hymn, “Komm, heiliger Geist, Herre Gott”; rest of libretto original. S. and B. Soli.
70
1716. Second S. in Advent; later (c. 1723). Twenty-sixth S. after Trinity.
Wachet, betet, betet, wachet.
Salomo Franck (“Evangelische Sonn- und Fest-Tages Andachten,” Weimar, 1717, p. 4) (opening chorus and Arias only). Recitativi added by a later (c. 1723) hand (? Bach).
Part I.: Stanza x. of the anonymous hymn, “Freu’ dich sehr, O meine Seele.” Part. ii.: Stanza v. of Christian Keimann’s hymn, “Meinen Jesum lass’ ich nicht.” Rest of libretto, both parts, original.
147
1716. Fourth S. in Advent; later (c. ?1727). Feast of the Visitation.
Herz und Mund und That und Leben.
Salomo Franck (Ibid.). (Opening chorus and first three Arias only). Recitativi and fourth Aria added by a later hand (?Bach).
Part I.: Stanza vi. of Martin Janus’ hymn, “Jesu, meiner Seelen Wonne.” Part II.: Stanza xvii. of the same hymn. Rest of libretto, both parts, original.
†158
c. 1708-16. Purification of the B.V.M.; later (at Leipzig) adapted to Easter Tuesday
Der Friede sei mit dir.
Spitta (ii. 688) suggests Franck as author of the Aria and following Recitativo, both of which bear on the Gospel for the Purification. The opening Recitative and choice of the concluding Choral, both of which are relevant to the Gospel for Easter Tuesday, must be attributed to a later hand (?Bach).
Stanza i. of Johann Georg Albinus’ hymn, “Welt, ade! ich bin dein müde”; Stanza v. of Luther’s hymn, “Christ lag in Todesbanden”; rest of libretto original. S. and B. Soli.
(4) COMPOSED AT CÖTHEN. (See also Nos. 22 and 23.)
No.
Date.
Title.
Author of Libretto.
Composition of the Text.
173
c. 1718. Birthday Serenade; new text (c. 1730) for Whit Monday.
Erhötes Fleisch und Blut.
The music of the Cantata is that of the Birthday Serenade, “Durehlaucht’-ster Leopold” (omitting numbers 5 and 6). Cantata text probably by Bach.
Original throughout.
47
?1720. Seventeenth S. after Trinity.
Wer sich selbst erhöhet, der soll erniedriget werden (St. Luke xiv. 11).
Johann Friedrich Helbig (“Aufmunterung zur Andacht,” Eisenach, 1720, p. 114.
St. Luke xiv. 11; Stanza xi. of anonymous (?Hans Sachs) hymn, “Warum betrubst du dich, mein Herz”; rest original. S. B. Soli.
141
1721 or 1722. Third S. in Advent.
Das ist je gewisslich wahr (I. Timothy i. 15).
Johann Fr. Helbig Ibid., p. 5). Bach’s authorship of the music is questioned (Bach-Jahrbuch, 1912).
1 Timothy i. 15; rest of libretto is original. The concluding Choral is omitted by Bach. It should be “Christe, du Lamm Gottes” (Spitta. ii. 15n.). A. T. B. Soli.
134
c. 1717-22. Secular Cantata; later adapted for Easter Tuesday (c. 1731).
Ein Herz, das seinen Jesum lebend weiss.
?Bach
Text original throughout. A. T. Soli.
(5) COMPOSED AT LEIPZIG. 1723-34. (See also Nos. 31, 70, 134, 147, 158, 173.)
No.
Date.
Title.
Author of Libretto.
Composition of the Text.
22
1723. Quinquagesima. (“Estomihi”).
Jesus nahm zu sich die Zwölfe (St. Luke xviii. 31). (See No. 31 (1715).)
?Bach (composed at Cöthen). Trial Cantata (February 7, 1723).
St. Luke xviii. 31, 34; Stanza v. of Elisabothe Gruciger’s hymn, “Herr Christ, der einig’ Gott’s Sohn”; rest original. A. T. B. Soli.
75
1723 (May 30). First S. after Trinity.
Die Elenden sollen essen (Psalm xxii. 26).
?Christian Weiss, senr.
Part I.: Psalm xxii. 26; Stanza v. of Samuel Rodigast’s hymn, “Was Gott thut, das ist wohlgethan”; Part II.: Stanza v. of the same hymn (repeated); rest of libretto, both parts, original.
76
1723. Second S. after Trinity. Also for Reformation Festival.
?Christian W
eiss, senr.
Die Himmel erzahlon die Ehre Gottes (Psalm xix. 1, 3).
Part I.: Psalm xix. 1,3; Stanza i. of Luther’s hymn, “Es woll’ uns Gott genädig sein”; Part II.: Stanza iii. of the same hymn; rest of libretto original. See Spitta ii. 357n.
24
1723. Fourth S. after Trinity.
Ein ungefarbt Gemüthe.
Erdmann Neumeister (“Fünffache Kirchen-Andachten”) (Ser. IV.).
St. Matthew vii. 12; Stanza i. of Johann Heer-mann’s hymn, “O Gott, du frommer Gott”; rest of libretto original. A. T. B. Soli.
186
1723. Seventh S. after Trinity.
Aergre dich, O Seele, nicht.
The opening chorus and first two Arias are by Salomo Franck (“Evangelische Sonn- und Fest-Tages,” p. 6), written for the Third S. in Advent, perhaps composed by Bach at Weimar. The remainder of the libretto was added in 1723 for the Seventh S. after Trinity. Both Gospels relate Christ’s miracles.
Part I.: Stanza xii. of Paul Speratus’ hymn, “Es ist das Heil uns kommen her.”
†164
1723 (or 1724). Thirteenth S. after Trinity.
Ihr, die ihr euch von Christo nennet.
Salomo Franck (“Evangelisches Andachts-Opffer,” 1715, p. 152).
Stanza v. of Elisabethe Cruciger’s hymn, “Herr Christ, der einig’ Gott’s Sohn”; rest of libretto original. Perhaps written at Weimar.
119
1723. Inauguration of Town Council (Aug. 30).
Preise, Jerusalem, den Herrn (Psalm cxlvii. 12.)
?Christian Weiss, senr.
Psalm cxlvii. 12-14; clauses xxii. and xxiii. of the “Te Deum”; rest of libretto original.
194
1723. Opening of the Organ at Störmthal (November 2); later (1731) for Trinity Sunday. (See No. 70 (1716).)
Höchsterwünschtes Freudenfest.
?Bach.
Part I.: Stanzas vi. and vii. of Johann Heermann’s hymn, “Treuer Gott, ich muss dir klagen”; Part II.: Stanzas ix. and x. of Paul Gerhardt’s hymn, “Wach auf, mein Herz, und singe.” Rest of libretto original. S. T. B. Soli.