In Bach's time, it was customary to inaugurate a newly elected city council with a festive service and cantata in the official city church. It may seem strange to find religious cantatas about what to us is a solidly secular subject, but in Bach's time - before the Enlightenment - there was no separation between the religious and the secular, and the governing authorities on earth were considered to be God's representatives.
This ceremony was called the Ratswahl or Ratswechsel, and in Leipzig it took place on the last Monday in August (around Trinity XII). In fact, the occasion had little to do with elections: the Leipzig City Council consisted of thirty councilors appointed for life, divided into three sections, one of which reigned for one year and two others "resting"; the mayor was the leader of the ruling group. The new council was inaugurated annually with a solemn service in the city's main church, the Nicolaikirche, at 8:30 a.m. on the Monday after St. Bartholomew's Day (August 24).
Bach was expected to perform a special cantata for the occasion. Trumpets and drums were often provided for the occasion. Five such cantatas have survived from Bach's Leipzig period: Preise, Jerusalem, den Herrn, BWV 119 for the inauguration of the Leipzig City Council in 1723 (Bach's first year in Leipzig); BWV 193 (1727?); 120 (1728-29?); 29 (1731); and 69 (1748?). For some other similar Leipzig cantatas, only the text survives. It is also possible that some of the Trinity XII cantatas were performed at the celebration of the City Council election the next day. But since Bach, as the city's director of music, was commissioned annually to compose a new festive work for this occasion, for which he was paid separately, he must have performed this service 27 times during his tenure in Leipzig.
This shows how much has been lost - or rather, since Bach recycled a lot of existing music with new texts, probably not preserved on purpose. Anyway, once Bach was a bit older and more established as a composer, he probably had more social obligations and composed less than in the rather hectic 1720s; he made up for it by recycling earlier music, which was quite possible (and in my opinion entirely justified) since those pieces had not been published.
In Mühlhausen, the Ratswechsel service took place on February 4, and we have Gott ist mein König, BWV 71, for the inauguration of the Mühlhausen town council in 1708; another cantata, for the service the following year, has been lost.
These are all festive and lively works, and although they are occasional music, they are all first-rate Bach.
Cantata Studies:
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[Nikolai Kirche, Leipzig]
Gott ist mein König, BWV 71, 4 February 1708
Chor: Gott ist mein König von altersher
Aria Tenor und Choral Soprano: Ich bin nun achtzig Jahr
Chor: Dein Alter sei wie deine Jugend
Arioso Bass: Tag und Nacht ist dein
Arie Alto: Durch mächtige Kraft
Chor: Du wollest dem Feinde
Chor: Das neue Regiment auf jeglichen Wegen
"God is my King"
Text & translation
Scored for four soloists, a four-part chorus, three trumpets, timpani, two recorders, two oboes, bassoon, organ obbligato, two violins, viola, violoncello, viola da gamba and basso continuo.
This is one of Bach's earliest cantatas and, thanks to the occasion, the first and only cantata published during his lifetime. The new city council must have liked this festive work enough to sponsor its printing! Stylistically, it shares characteristics with Bach's other early cantatas - with short movements that flow into each other, the cantata shows the characteristics of traditional 17th-century cantatas. The service was held on February 4, 1708, in the Marienkirche, Mühlhausen's largest church. The score indicates that Bach placed his musicians in various parts of the building.
The author of the text is unknown, but both Archdeacon Georg Christian Eilmar, the pastor of the Marienkirche, and Bach himself have been suggested. The text is a combination of biblical quotations (mostly Psalm 74), a hymn (O Gott, du frommer Gott, Johann Heermann 1630), and original material (paying homage to old mayors). Movements 5 and 7 use specially written verses with references to Emperor Joseph I and the War of the Spanish Succession.
The work begins with a rousing opening chorus accompanied by trumpets ("God is my King from long ago"). In the aria for tenor and soprano, we meet the mayor of Mühlhausen, Adolf Strecker, who is already 83 years old, but still gets a new term! He obviously had a lot of experience. "May your old age be like your youth," the choir sings next in a fugue that begins a capella (quite a curiosity).
The attractive bass aria shows the right attitude towards God's government: "You set boundaries for every land." It has very nice woodwind and continuo accompaniment. The alto aria continues this theme with "With mighty power you maintain our borders. It is a lively piece with interjections from trumpets and percussion.
The cantata concludes with two choral movements, the first simple ("a movement of extraordinary restraint, delicacy and the utmost tonal subtlety," as Gardiner remarked), the second one including a vocal fugue. The chorus asks a blessing for the new town council.
Video: Kay Johannsen (1); Kay Johannsen (2 & 3); Kay Johannsen (4 & 5); Kay Johannsen (6 & 7);Preise, Jerusalem, den Herrn, BWV 119, 30 August 1723
Chorus: Preise, Jerusalem, den Herrn
Rezitativ Tenor: Gesegnet Land
Arie Tenor: Wohl dir, du Volk der Linden
Rezitativ Bass: So herrlich stehst du, liebe Stadt!
Arie Alto: Die Obrigkeit ist Gottes Gabe
Rezitativ Soprano: Nun! Wir erkennen es und bringen dir
Chorus: Der Herr hat Guts an uns getan
Rezitativ Alto: Zuletzt! Da du uns, Herr, zu deinem Volk gesetzt
Choral: Hilf deinem Volk, Herr Jesu Christ
"Praise the Lord, O Jerusalem"
Text & translation
Scored for four vocal soloists (soprano, alto, tenor and bass), a four-part choir, and an orchestra of four trumpets, timpani, two recorders, three oboes, two of them also playing oboes da caccia, two violins, viola, and basso continuo.
This cantata was written for the inauguration of the town council of Leipzig in the first year that Bach was working there. He clearly wanted to impress and provides spectacular music for the festivities. After all, such a service would have been attended by all the important dignitaries, so it was a good opportunity for Bach to show off his capacities as cantor.
The magnificent opening chorus is based on a French overture (associated with the splendor of the French court), and is accompanied by the full orchestra of four trumpets, timpani, three oboes, two recorders, and strings. The choir makes its entrance at the moment when a fast fugue breaks into this French overture. The anonymous lyricist has based the words of the opening chorus on verses from Psalm 147, in which Jerusalem and its blessed children symbolize the city of Leipzig and its inhabitants. This metaphor continues in the following sections.
The dance-like first aria with two English horns and tenor (accompanied by a pair of oboes da caccia) praises Leipzig as a great town, the chosen place of God ("blessed land, fortunate city"). Indeed, Leipzig was then a flourishing city of 27,000 inhabitants. The tenor also mentions the linden trees that line the streets of Leipzig.
To shake up the congregation, the next bass recitative is grandly accompanied by all the wind and brass instruments, like a piece of ceremonial music for a pompous state occasion.
Then follows another gentle piece, now for alto with two recorders, music of great refinement, but with an ideological text ("Authority is God's gift"). After a soprano recitative follows again a monumental chorus, a song of praise, accompanied by martial trumpets and drums.
But this is not the end: the cantata's finale is a simple and humble choral setting, a quiet prayer as a call for help and blessing. The cantata which opened in a blaze of sound, thus ends in a spirit of contemplation.
Video: Netherlands Bach Society - Interview with oboist Martin Stadler /
J.S. Bach Foundation (St. Gallen) - Workshop (in German) - Contemplation (in German)Höchsterwünschtes Freudenfest, BWV 194, 2 November 1723
I.
Chor: Höchsterwünschtes Freudenfest
Rezitativ Bass: Unendlich großer Gott
Arie Bass: Was des Höchsten Glanz erfüllt
Rezitativ Soprano: Wie könnte dir, du höchstes Angesicht
Arie Soprano: Hilf, Gott, daß es uns gelingt
Choral: Heilger Geist ins Himmels Throne
II.
Rezitativ Tenor: Ihr Heiligen, erfreuet euch
Arie Tenor: Des Höchsten Gegenwart allein
Rezitativ (Dialog - Duett) Bass, Soprano: Kann wohl ein Mensch zu Gott im Himmel steigen?
Arie (Duett) Soprano & Bass: O wie wohl ist uns geschehn
Rezitativ Bass: Wohlan demnach, du heilige Gemeine
Choral: Sprich Ja zu meinen Taten
"Most highly desired festival of joy"
Text & translation
Scored for three vocal soloists (soprano, tenor and bass), a four-part choir (SATB), three oboes, bassoon, two violins, viola and basso continuo.
A captivating cantata composed for the dedication of the church and organ in Störmthal, a village near Leipzig. The church was being extensively renovated and a new organ was being built. Bach was invited to test the new organ, give a public concert, and compose and perform a celebratory cantata for the occasion. The text of the cantata, written by an anonymous poet, includes two stanzas of Johann Heermann's hymn "Treuer Gott, ich muß dir klagen" (1630) and two stanzas of Paul Gerhardt's "Wach auf, mein Herz, und singe" (1647). The biblical point of departure for the text is Solomon's prayer of dedication (2 Chronicles 6-7). A central theme of the cantata is the concept of the church as God's dwelling place, where He can enter to ignite, strengthen, and preserve faith against human frailty and worldly challenges. The abundance of biblical references, with not a single line without such allusions, suggests that the unknown librettist was a theologian.
The cantata lasts a full 40 minutes and is somewhat like an orchestral suite. The three-part opening chorus is in the style of a French overture, while all the arias have dance rhythms. This suggests that BWV 194 is derived from a now-lost secular cantata that may have been composed between 1717 and 1723 for the birthday of Prince Leopold of Anhalt-Cöthen. Scholars suggest that all but the introductory chorus were reused with minor alterations, a pattern that may extend to the recitatives, especially the dialogic recitative between bass and soprano.
The bass aria exudes pastoral serenity, conveying God's protective embrace with a gently swaying rhythm. It stands out as the cantata's most exquisite aria, sung in the high register and accompanied by strings and oboe. The soprano then warns against vanity in her recitative. The following soprano aria, a gavotte, is equally charming, celebrating the purifying essence of Pentecostal fire. The first part concludes with a chorale rendition of "Treuer Gott, ich muß dir klagen" by J. Heermann (1630).
The second part, intended to follow the sermon, begins with a recitative and aria for tenor in the form of a gigue, urging the listeners to rejoice. The ensuing recitative for soprano and bass becomes a dialog between Doubt (bass) and Conviction (soprano), with Conviction ultimately prevailing. Their duet, a minuet, finds the soprano and bass united in praise of God, accompanied by two oboes and a particularly enchanting melody. After a brief recapitulatory bass recitative, the cantata concludes with a chorale setting of the hymn "Awake, my heart, and sing" by P. Gerhardt (1647), which has a dance-like quality in keeping with the overall jubilation of the piece.
Bach evidently held the cantata in high esteem, for he revived it for Trinity Sunday in 1724 and subsequently performed it on two other Trinity Sundays in 1726 and 1731.
Video: Emmanuel Music (Boston)Ihr Tore zu Zion, BWV 193, 25 August 1727
Chor: Ihr Tore zu Zion
Rezitativ Soprano: Der Hüter Israels entschläft noch schlummert nicht
Arie Soprano: Gott, wir danken deiner Güte
Rezitativ Alto: O Leipziger Jerusalem
Arie Alto: Sende, Herr, den Segen ein
Chor: Ihr Tore zu Zion
"Ye gates of Zion"
Text & translation
The music survives in an incomplete state. Only two vocal parts are extant (soprano and alto). The parts for tenor and bass are missing. The instrumental parts which survive are for two oboes, two violins and viola. The continuo line is missing completely, as are parts for any additional instruments deployed by Bach. For a festive occasion he typically scored trumpets and timpani.
Much of the music of this cantata for the inauguration of the City Council of Leipzig in 1727 has indeed been lost (only the soprano and alto parts, together with the parts for oboes and strings, have come down to us), and what we hear today is a reconstruction. The opening chorus is very festive and has a motif that will stay with you for a long time. The attractive soprano aria is accompanied by a beautiful oboe, and the alto aria is also a fine piece. The melody of the opening chorus is repeated at the end of the cantata. It is good that so much of this fine cantata could be reconstructed. Incidentally, this music had been heard less than four weeks earlier in Leipzig as a tribute cantata (BWV 193a) on the name day of King/Elector August II. This cantata is rarely performed and I only know it from a recording by Ton Koopman.
Audio: Ton KoopmanGott, man lobet dich in der Stille, BWV 120, 29 August 1729
Alto solo: Gott, man lobet dich in der Stille
Coro: Jauchzet, ihr erfreuten Stimmen
Recitativo (bass): Auf, du geliebte Lindenstadt
Aria (soprano): Heil und Segen
Recitativo (tenor): Nun, Herr, so weihe selbst das Regiment
Chorale: Nun hilf uns, Herr, den Dienern dein
"God, Praise awaits You in the stillness"
Text & translation
Scored for four soloists, soprano, alto, tenor and basso, a four-part choir, three trumpets, timpani, two oboes d'amore, two violins, viola, and basso continuo.
This inaugural cantata begins surprisingly, with an elegant aria for alto with oboe d'amore accompaniment that probably originated in a lost violin concerto. But it is a beautiful setting of the words of the Psalm, "God, you are praised in the silence of Zion, and the vows to you shall be fulfilled". The reason for this can be found in Psalm 65:2 (used in this cantata), which says that silence is a song of praise to God.
The chorus (also surprisingly) comes second and will be familiar to Bach lovers, as it was later used in the more famous B Minor Mass. It is a brilliant setting with trumpets and percussion.
The soprano aria has an interesting violin accompaniment, perhaps from a common model with the third movement of the Violin Sonata BWV1019a. The cantata ends with a four-part setting of a verse from the German Te Deum.
Video: Netherlands Bach Society - Interviews: Guillon (alto) - Van Veldhoven (conductor) & Vanryne (trumpet)
Wir danken dir, Gott, wir danken dir, BWV 29, 27 August 1731
Sinfonia
Coro: Wir danken dir, Gott, wir danken dir
Aria (tenor, violin): Halleluja, Stärk und Macht
Recitativo (bass): Gottlob! es geht uns wohl!
Aria (soprano, oboe, strings):Gedenk an uns mit deiner Liebe
Recitativo (alto, choir): Vergiß es ferner nicht, mit deiner Hand
Aria (alto): Halleluja, Stärk und Macht
Chorale: Sei Lob und Preis mit Ehren
"We give thanks to You, O God"
Text & translation
Scored for four vocal soloists (soprano, alto, tenor and bass), a four-part choir, three trumpets, timpani, two oboes, two violins (violin solo in movement 3), violas, an obbligato organ and basso continuo.
The central theme of this festive cantata is gratitude for blessings received in the past. The elaborate Sinfonia for organ and strings at the beginning is based on the Partita in E major for solo violin (BWV 1006). It is arranged like an organ concerto.
It is followed by a sublime chorus that was later included as the Gratias in the B Minor Mass. The old style setting fits perfectly with the message of the psalm text. At the end, three trumpets and percussion join the four choir voices to create a seven-part ensemble - the number of perfection.
There are then three pleasant arias: for tenor with obbligato violin, in which Leipzig is compared to Sion (Jerusalem); then a quiet siciliano for soprano ("Bless those who govern us, who lead us, protect us and guide us"); and finally for alto, accompanied by the organ, which praises the power and might of the Most High. The final solemn chorale is again accompanied by trumpets and percussion. One of Bach's best.
Video: Netherlands Bach Society - Interviews with soprano Maria Keohane, organist Leo van Doeselaar and violinist Shunske Sato & conductor Jos van Veldhoven /
J.S. Bach Foundation (St. Gallen) - Workshop (in German) - Contemplation (in German)
Lobe den Herrn, meine Seele, BWV 69, 1742–48 (adapted from BWV 69a)
Chorus: Lobe den Herrn, meine Seele
Recitativo (soprano): Wie groß ist Gottes Güte doch
Aria (alto): Meine Seele, auf, erzähle,
Recitativo (tenor): Der Herr hat große Ding an uns getan
Aria (bass): Mein Erlöser und Erhalter
Chorale: Es danke, Gott, und lobe dich
"Praise the Lord, O my Soul"
Text & translation
Scored for four solo voices (soprano, alto, tenor, and bass), a four-part choir, three trumpets, timpani, three oboes, oboe d'amore, bassoon, two violins, viola, and basso continuo.
Bach wrote this cantata in his last years, basing it on BWV 69a which was written for the twelfth Sunday after Trinity of 1723. The recitatives and the chorale were changed for the occasion, as were other details but it is basically the same cantata - it was easy to transform thanks to its jubilant character. The triumphant words of Psalm 103 are accompanied by a rich orchestral setting that includes three trumpets, timpani, three oboes and a bassoon, besides the strings. Bach reflected the duality of the words of the psalm in the opening chorus ("Praise the Lord, my soul, and do not forget the good He has done for you!") by creating a double fugue.
This grand opening chorus (preceded by an orchestral ritornello) is followed by two arias, one for tenor, the other for bass. The first aria is a pastoral movement, the tenor is accompanied by oboe da caccia, recorder and bassoon. In the second recitative the tenor expresses the hope that God will bestow ‘the spirit of wisdom’ on the new town council of Leipzig. At that moment, the strings join in, lending more solemnity to the message.
In the second aria the contrast between suffering and joy is expressed by chromatic "up and down" figures and vivid coloraturas. The closing chorale is accompanied by festive trumpets and drums.
Video: Netherlands Bach Society - Interview with conductor Peter Dijkstra
Bach Cantata Index