Mary visits her cousin Elizabeth at a time when both are pregnant, Mary with Jesus and Elizabeth with John the Baptist. Mary wants to bring divine grace to Elizabeth and her unborn child, exercising for the first time her function as "mediator" between God and man. During the encounter, Mary also proclaims the Magnificat ("My soul magnifies the Lord"), which is why this hymn is traditionally reserved for this feast.
This feast is of medieval origin (mid-13th century). It was kept by the Franciscan Order, which spread it to many churches. In 1389, Pope Urban VI included it in the Roman calendar to be celebrated on July 2.
Readings:
Isaiah 11:1–5, Prophecy of the Messiah, "A rod shall come out of Jesse"
Luke 1:39–56, Visitation and Magnificat
Cantata Studies:
Bach Cantatas Website | Simon Crouch | Emmanuel Music | Julian Mincham | Wikipedia | Eduard van Hengel (in Dutch) | Bach Companion (Oxford U.P.) | Bach: The Learned Musician (Wolff) | Music in the Castle of Heaven (Gardiner)
Cantatas:
- Herz und Mund und Tat und Leben, BWV 147, 2 July 1723 (adapted from BWV 147a for Advent IV)
Part 1
Chorus: Herz und Mund und Tat und Leben
Rezitativ T: Gebenedeiter Mund!
Aria A: Schäme dich, o Seele nicht
Rezitativ B: Verstockung kann Gewaltige veblenden
Aria S: Bereite dir, Jesu, noch heute die Bahn
Chorale: Wohl mir, dass ich Jesum habe
Part 2
Aria T: Hilf, Jesu, hilf, dass ich auch dich bekenne
Rezitativ A: Der höchsten Allmacht Wunderhand
Aria B: Ich will von Jesu Wundern singen
Chorale: Jesu bleibet meine Freude
"Heart and Mouth and Deed and Life"
Text and translation
Scored for four vocal soloists (soprano, alto, tenor and bass), a four-part choir, trumpet, two oboes (oboe d'amore, oboe da caccia), two violins, viola, and basso continuo including bassoon).
This cantata is famous for the melody "Jesu bleibet meine Freude" at the end of both parts. The text is from a Weimar cantata by Salomon Franck for the 4th Advent. Since no cantatas were performed in Leipzig between Advent and Christmas, it couldn't be used there. For the 4th Advent, the texts focused on John the Baptist, with the Gospel being his testimony of himself and of the one who would come after him. This influence is evident in the opening refrain of the Leipzig version: "Heart and mouth and deed and life must bear witness to Christ...". By adding recitatives and changing the chorale, an unknown poet adapted the music for the feast of the Visitation of the Blessed Virgin Mary on July 2, 1723. This change, as well as the transformation into a two-part sermon cantata, reflects the changed demands on Bach's church music in Leipzig compared to his time in Weimar. But the arias, with their intimate and soloistic qualities, reveal their origins in Bach's Weimar court music. The original closing chorale was replaced by the hymn "Jesu, meiner Seelen Wonne" (1661) by Martin Janus, using the melody of "Werde munter, mein Gemüte" by Johann Schop.
The cantata opens with a lively chorus featuring trumpet, oboe, and strings, followed by a choral fugue, a movement unchanged from the Weimar version. The tenor recitative, accompanied by lush strings, aligns the cantata text with the Marian feast and draws connections to the Magnificat. The alto aria, similar to the opening chorus, expresses confession to the Savior. It is scored as a trio for the oboe d'amore, alto and continuo, in an overall very expressive air that has characteristics of an intimate meditation. The bass recitative echoes Mary's canticle and calls for preparation to receive the Savior.
In the soprano aria, Bach employs his characteristic "walking music," with a walking bass and a high, silvery soprano calling on Jesus to prepare the way. Scored as a trio, the solo violin expresses confidence in divine mercy through triplets punctuated by the continuo. The soaring soprano gives a serene and gracious feeling to a movement which otherwise appears quite simple. The cantata concludes with the familiar "Jesu bleibet meine Freude" chorale, in which the choir sings line by line, interspersed with orchestral interludes. The choral movement is homophonic with the soprano cantus firmus, the latter reinforced by the trumpet.
The heartfelt tenor aria that opens the second part remains unchanged, expressing confession to the Lord and ardent love in the context of the Marian feast. The aria is based on a three-note motto: "Help, Jesu, help.
The long alto recitative, referring to Mary's visit to Elizabeth, is accompanied by two English horns. The energetic bass aria has been significantly rewritten to shift its focus from John the Baptist to a more general praise. It features the trumpet and full orchestra and leads into the final "Jesu bleibet meine Freude.
Video: Netherlands Bach Society - Interview Tenor Immo Schröder en hoboïst Emma Black /
J.S. Bach Foundation (St. Gallen) - Workshop (in German) - Contemplation (in German) - Explanation "Bach Factory" (in English) - Meine Seel erhebt den Herren, BWV 10, 2 July 1724
Coro: Meine Seel erhebt den Herren
Aria (soprano): Herr, der du stark und mächtig bist
Recitativo (tenor): Des Höchsten Güt und Treu
Aria (bass): Gewaltige stößt Gott vom Stuhl
Duetto (alto, tenor) e chorale: Er denket der Barmherzigkeit
Recitativo (tenor): Was Gott den Vätern alter Zeiten
Chorale: Lob und Preis sei Gott dem Vater
"My Soul Magnifies the Lord"
Text and translation
Scored for four soloists (soprano, alto, tenor and bass, four-part choir, trumpet (or tromba di tirarsi), two oboes, two violins, viola and basso continuo.
This cantata is based on Martin Luther's German translation of the Magnificat. The original plainsong melody, known as the Tonus Peregrinus, is prominent throughout, beginning with the opening ritornello of the first choral movement. This chorus carries a powerful intensity, perhaps reflecting Mary's joyful anticipation. The long lines of the orchestra contrast with the lively parts of the choir, creating a sense of vibrant gaiety and energy.
The soprano aria is notable for its catchy, dance-like melody, evoking the leaps of joy felt by the baby in Elizabeth's womb. It is followed by a secco recitative for the tenor.
In contrast, the bass aria, accompanied only by the continuo, carries dramatic weight and even incorporates humor in its depiction of the fall of the mighty with rapidly descending scales.
The duet for alto and tenor, also recognized as one of the " Schubler Chorals" for organ (BWV 648), is haunting, with the trumpet reintroducing the tonus peregrinus.
In the tenor recitative that follows, there's clever tone painting as the strings evoke the image of waves crashing on the shore at the mention of "His seed would multiply, like the sand on the seashore." The robust Gregorian tonus peregrinus returns to close the cantata.
Video: Netherlands Bach Society