Jesus nahm zu sich die Zwölfe (Jesus gathered the
twelve to Himself), BWV 22,[a] is a church cantata by
Johann Sebastian Bach composed for Quinquagesima, the
last Sunday before Lent. Bach composed it as an
audition piece for the position of Thomaskantor in
Leipzig and first performed it there on 7 February
1723.
The work, which is in five movements, begins with a
scene from the Gospel reading in which Jesus predicts
his suffering in Jerusalem. The unknown poet of the
cantata text took ...(+)
Jesus nahm zu sich die Zwölfe (Jesus gathered the
twelve to Himself), BWV 22,[a] is a church cantata by
Johann Sebastian Bach composed for Quinquagesima, the
last Sunday before Lent. Bach composed it as an
audition piece for the position of Thomaskantor in
Leipzig and first performed it there on 7 February
1723.
The work, which is in five movements, begins with a
scene from the Gospel reading in which Jesus predicts
his suffering in Jerusalem. The unknown poet of the
cantata text took the scene as a starting point for a
sequence of aria, recitative, and aria, in which the
contemporary Christian takes the place of the
disciples, who do not understand what Jesus is telling
them about the events soon to unfold, but follow him
nevertheless. The closing chorale is a stanza from
Elisabeth Cruciger's hymn "Herr Christ, der einig Gotts
Sohn". The music is scored for three vocal soloists, a
four-part choir, oboe, strings and continuo. The work
shows that Bach had mastered the composition of a
dramatic scene, an expressive aria with obbligato oboe,
a recitative with strings, an exuberant dance, and a
chorale in the style of his predecessor in the position
as Thomaskantor, Johann Kuhnau. Bach directed the first
performance of the cantata during a church service,
together with another audition piece, Du wahrer Gott
und Davids Sohn, BWV 23. He performed the cantata again
on the last Sunday before Lent a year later, after he
had taken up office.
The cantata shows elements which became standards for
Bach's Leipzig cantatas and even the Passions,
including a "frame of biblical text and chorale around
the operatic forms of aria and recitative", "the fugal
setting of biblical words" and "the biblical narrative
... as a dramatic scena".
The cantata has five movements and is scored for three
vocal soloists (an alto (A), tenor (T) and bass (B)), a
four-part choir (SATB), and for a Baroque orchestra of
an oboe (Ob), two violins (Vl), viola (Va) and basso
continuo. The duration is given as c.?20 minutes.
Source: Wikipedia
(https://en.wikipedia.org/wiki/Jesus_nahm_zu_sich_die_Z
w%C3%B6lfe,_BWV_22).
In this, the closing Chorale, the fifth stanza of
Elisabeth Cruciger's "Herr Christ, der einig Gotts
Sohn". Its melody is based on one from Wolflein
Lochamer's Lochamer-Liederbuch, printed in Nürnberg
around 1455. It first appears as a sacred tune in
Johann Walter's Wittenberg hymnal Eyn geystlich Gesangk
Buchleyn (1524). The usual four-part setting of the
voices is brightened by continuous runs of the oboe and
violin I.[35] Isoyama thinks that Bach may have
intentionally imitated the style of his predecessor
Johann Kuhnau in the "elegantly flowing obbligato for
oboe and first violin". John Eliot Gardiner describes
the movement's bass line as a "walking bass as a symbol
of the disciples' journey to fulfilment. Mincham
comments that Bach "chose to maintain the established
mood of buoyancy and optimism with a chorale
arrangement of almost unparalleled energy and
gaiety"
I created this arrangement of the closing Chorale,
"Ertöt uns durch dein Güte" (Kill us through your
goodness or Us mortify through kindness) for Winds
(Flute, Oboe, Bb Clarinet, Bassoon, Bb Trumpet,
Flugelhorn, French Horn & Euphonium) & Strings (2
Violins, Viola & Cello).
PARTITION