Sei Lob und Ehr dem höchsten Gut (Praise and honour be
to the highest good), BWV 117, is a church cantata by
Johann Sebastian Bach. He composed the chorale cantata
in Leipzig between 1728 and 1731 for no specific
occasion, based on the hymn by Johann Jacob
Schütz.
Bach composed the chorale cantata in Leipzig between
1728 and 1731 for no specific occasion, based on the
hymn by Johann Jakob Schütz. Musicologist Julian
Mincham suggests two possibilities: it may have been
intended as a "...(+)
Sei Lob und Ehr dem höchsten Gut (Praise and honour be
to the highest good), BWV 117, is a church cantata by
Johann Sebastian Bach. He composed the chorale cantata
in Leipzig between 1728 and 1731 for no specific
occasion, based on the hymn by Johann Jacob
Schütz.
Bach composed the chorale cantata in Leipzig between
1728 and 1731 for no specific occasion, based on the
hymn by Johann Jakob Schütz. Musicologist Julian
Mincham suggests two possibilities: it may have been
intended as a "general-purpose" cantata, able to be
used for almost any occasion with only minimal changes;
or it may have been written for a ceremony of some
kind, likely a wedding.
Simon Crouch remarks that this cantata is "pervaded
with the spirit of the dance", particularly given its
frequent use of triple meter and the dominance of the
major mode.
The opening chorus is a chorale fantasia wherein the
soprano sings the chorale melody while the lower voices
create chordal harmonies. The long instrumental
ritornello, created by strings (doubled by oboes and
flutes) and continuo, appears at the beginning of the
movement and four bars before the voices finish at the
end.
The second movement is a bass recitative remarkable for
its final line: Bach repeats the line four times in an
arioso, accompanied by "a version of Schweitzer's
three-note 'joy' motive" in the continuo. The text
moves from a typical thanksgiving to encourage the
listener to give honour to God.
The tenor aria adopts the minor mode, despite the
continued optimism of the text. Harmonically the
movement consists of four contrapuntal lines created by
the vocalist, continuo, and two oboes d'amore. Although
there is no notated da capo, the music allows a
recapitulation of the opening theme.
The central chorale adopts the least optimistic text
from the original hymn, contrasting with the mostly
upbeat other movements. Unusually for a Bach cantata,
it is a simple setting of the chorale melody placed in
the middle of the cantata rather than at the end. The
primary melody is based on a repeated note and modal
motive.
The alto recitative is quite similar to the bass
recitative of the second movement, varying only in the
fullness of the opening accompaniment. As with the
earlier recitative, it concludes on an arioso repeating
the last line of text, again with the "joy" motive in
the continuo.
The bass aria mirrors the earlier tenor aria in
adopting the minor mode. The movement is remarkable for
its "reaching" obbligato violin and for the multiple
instances of word painting throughout the vocal
line.
The seventh movement is an alto aria in which the
singer assumes a personal view of devotion. The
accompaniment comprises flowing triplets in the flute,
"the palpitations of an excited heartbeat", over
repeated chords in the strings.
The tenor recitative adopts the voice of a pastor
preaching to his followers. The movement is "short but
operatically declamatory" and modulates from the minor
mode to G major to set up the final movement.
Unusual for Bach who often closes cantatas with a
simple four-part setting of a chorale, the closing
chorus reprises the music of the first movement, with a
text entreating the listener to sing and dance.
Although the work was scored for three vocal soloists
(alto, tenor, and bass), a four-part choir, two flutes,
two oboes, two oboes d'amore, two violins, viola, and
basso continuo, I created the Flute part and this
arrangement for Flute & Acoustic Piano.
(by Magatagan, Mike)1,077x⬇ 144x
