Johann Sebastian Bach was better known as a virtuoso
organist than as a composer in his day. His sacred
music, organ and choral works, and other instrumental
music had an enthusiasm and seeming freedom that
concealed immense rigor. Bach's use of counterpoint was
brilliant and innovative, and the immense complexities
of his compositional style -- which often included
religious and numerological symbols that seem to fit
perfectly together in a profound puzzle of special
codes -- still amaze musici...(+)
Johann Sebastian Bach was better known as a virtuoso
organist than as a composer in his day. His sacred
music, organ and choral works, and other instrumental
music had an enthusiasm and seeming freedom that
concealed immense rigor. Bach's use of counterpoint was
brilliant and innovative, and the immense complexities
of his compositional style -- which often included
religious and numerological symbols that seem to fit
perfectly together in a profound puzzle of special
codes -- still amaze musicians today. Many consider him
the greatest composer of all time.
Cantata 214 "Tönet, ihr Pauken! Erschallet,
Trompeten!" ("Sound, you drums! Ring out, you
trumpets!") is subtitled "Dramma per musica," and was
written for the birthday of the Electress of Saxon, who
was also Queen of Poland, and was performed on December
8, 1733. It calls for one of the largest performing
forces of any Bach cantata: Soprano, alto, tenor and
bass solos, full chorus, and a large orchestra for the
time. The author of the text is unknown.
The four singers portray the allegorical figures of
Bellona, Pallas, Irene, and Fama. The opening chorus is
accompanied by the full orchestra, which naturally
enough includes drums and trumpets to add to the call
of "Long Live the Queen!" The Queen is extolled as the
protectress of the Muses in her lands; the voices of
youths pledge to stand ready with their weapons as part
of the splendid display.
Similar praise continues. A final recitative proclaims
that her fame shall spread to all lands, and the final
chorus bids the trees to bloom in her honor, and wishes
her long live. In other words, this cantata, splendid
though it is musically, is an extended bit of sucking
up, but that was life in the eighteenth century. Later,
Bach put much of the music of this cantata to more
exalted use as part of his "Christmas Oratorio."
"Blühet, ihr Linden in Sachsen, wie Zedern!"
("Flourish, ye lindens in Sax'ny like cedars") is the
ninth Chorus of the Cantata BWV 214 and despite its
brevity, this gigue in 3/8 time, has much substance. It
has a "clear, periodic phrase structure," with an
instrumental passage followed by a "freely polyphonic
vocal passage in which the voices enter in turn leading
to a choral insertion within a reprise of the
instrumental passage. Three Goddess commence: Irene
(tenor) with flourishing linden and cedar trees;
Bellona (soprano), echoing with weapons, wagons, and
axles; and Pallas (alto) singing with the muses. The
tutti joins in joyous celebration. Bach uses this
chorus, music virtually unchanged to open the XO (BWV
248) Part 3, The Adoration, and repeats the chorus at
the end of Part 3, to close the three feast days of
Christmas.
I created this arrangement for Small Orchestra: Bb
Trumpet, French Horn, Flute, Oboe, Bb Clarinet,
Bassoon, Timpani and Strings (Violins (2), Viola &
Cello).
PARTITION