| Ajoutée par magataganm, 06 Mai 2013
Johann Sebastian Bach (1685 -- 1750) was a German
composer, organist, harpsichordist, violist, and
violinist of the Baroque period. He enriched many
established German styles through his skill in
counterpoint, harmonic and motivic organisation, and
the adaptation of rhythms, forms, and textures from
abroad, particularly from Italy and France. Bach's
compositions include the Brandenburg Concertos, the
Mass in B minor, the The Well-Tempered Clavier, his
cantatas, chorales, partitas, Passions, and ...(+)
Johann Sebastian Bach (1685 -- 1750) was a German
composer, organist, harpsichordist, violist, and
violinist of the Baroque period. He enriched many
established German styles through his skill in
counterpoint, harmonic and motivic organisation, and
the adaptation of rhythms, forms, and textures from
abroad, particularly from Italy and France. Bach's
compositions include the Brandenburg Concertos, the
Mass in B minor, the The Well-Tempered Clavier, his
cantatas, chorales, partitas, Passions, and organ
works. His music is revered for its intellectual depth,
technical command, and artistic beauty.
First performed on January 14, 1725, BWV 3 ("Ah God,
how much suffering of the heart") is a cantata for the
second Sunday after Epiphany. It belongs to the second
annual cycle (Jahrgang) of cantatas composed by Bach
after he became cantor of the Thomasschule in 1723.
Like most of the cantatas of that cycle, it is one of
the so-called "chorale cantatas," making extensive use
of a chorale melody throughout. In the present
instance, the basis for the anonymous text is the hymn
by Martin Moller from which the cantata takes its name.
It has little apparent relationship with the Gospel of
the day, the story of the wedding at Cana (John
2:1-11), emphasizing the need to remain steadfast in
the face of adversity. The changing of the water to
wine may however have been seen by the librettist as an
allegory of the power of Jesus to change human
predicament to heavenly joy. The vocal scoring is in
the usual four parts, with an instrumental
accompaniment for trombone, horn (whose function is to
double the choral line in the opening and closing
movements), two oboes d'amores, strings and continuo
bass. The opening chorus is in a form favored by Bach
in the chorale cantatas, a fantasia in which the first
stanza of the hymn, heard as a cantus firmus in the
bass, is embedded within a contrapuntal fabric woven by
the other three parts. The grief-laden text is treated
by Bach in highly expressive fashion, the falling
chromatic line on which the chorus is based
supplemented by sighing motifs. The following movement
contrasts the chromatic anguish of the opening chorus
with a straightforward harmonization of the second
stanza of the chorale interspersed with recitatives for
all four soloists based on the three succeeding
stanzas. Next comes a bass aria accompanied only by
continuo that contrasts conflicting emotions -- "hell's
anguish and pain," and "heavenly joy," the vocal
writing vividly descriptive of both. Like the duet for
soprano and alto which follows a short tenor
recitative, the text continues to paraphrase strophes
of Moller's hymn. The da capo duet, supported by unison
oboes d'amores and strings, is warmly expressive.
Described by W. G. Whittaker as "one of the loveliest
of all duets, perhaps the finest in the cantatas," the
text speaks of the alleviation of the "pressing cares"
when "I in joyfulness to my Jesus sing." This
exceptional cantata, which thus moves from a dark night
of the soul to joy, concludes with a simple four-part
harmonization of the final strophe of the hymn that
shapes its entire structure. Two years later Bach would
again employ Moller's hymn in the dialogue cantata No.
58, which bears the same name.
"Wenn Sorgen auf mich dringen" (When cares press upon
me) is a Duet Aria (Mvt. 5) for Soprano & Alto.
Although this piece was originally created for Voice
(SATB) and period instruments, I created this
arrangement for Wind Quartet (Flute, Oboe, Clarinet &
Bassoon). | |
