Johann Sebastian Bach Cantata Wie schön leuchtet der ...Festo annunciationis Mariae. Bc. A173. Dürr ii/546. Whittaker ii/104. BG 1 p. 1. NBA 28.2 p 1. CC 11 p. 435. Eulenburg 1012

Johann Sebastian Bach

Cantata

Wie schön leuchtet der Morgenstern

BWV 1

DotMus © Nov. 2002, rev. Dec 2015

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[Allegro]

Bach Cantata BWV 1 Wie schön leuchtet der Morgenstern - 3 - DotMus © Nov. 2002, rev. Dec 2015

Festo annunciationis Mariae

Wie schön leuchtet der MorgensternBWV1

Johann Sebastian Bach

Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

4


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

7


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

10


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

13

Wie

schön leuch - - - -

Wie schön leuch-tet der Mor - gen -

Wie schön leuch -

tet der

Wie schön leuch-

stern, der Mor - gen - stern, wie schön leuch-

tet der Mor - gen - stern, der Mor - gen -


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

16

Mor - - - - gen - - - -



stern, wie schön leuch - tet der Mor - gen -

stern

stern, wie schön leuch - tet der Mor - gen

stern, wie schön leuch - tet der Mor - gen -

stern, wie schön leuch-tet der Mor - gen -

stern

stern

stern


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

19

voll Gnad' und Wahr - heit von dem

voll Gnad' und

Her-rn, voll Gnad' und wahr -

Wahr - heit von dem



Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

22

heit, voll Gnad' und

Herrn, voll Gnad' und Wahr - heit von dem

Herrn, voll Gnad' und Wahr -

Wahr - heit von dem


heit voll Gnad' und Wahr - heit von dem

voll

Hern, voll Gnad' und Wahr - heit von dem

heit, voll Gnad' und Wahr - heit von dem



Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

25

Gnad' und

Herrn,

Herrn, von Gnad' und Wahr - heit von dem

Herrn, voll Gnad' und

Wahr - - - - - heit


herrn, voll Gnad' und Wahr - heit von dem

Wahr - heit, Wahr - - - - heit von dem


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

27

von dem




Herrn,


heit, voll Gnad, und Wahr - heit von dem


Herrn,

Herrn,

Herrn,


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

30


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

33

die

die

sü - - - ße

die sü - - - ße Wur

die sü - - - ße

sü - ße Wur - zel Jes - se, die

Wur - - - zel

zel Jes - - se, die sü -

Wur - zel Jes - se, die sü -

sü - ße Wur - zel Jes - se, die


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

36

Jes - - - - - - - -

ße Wur - - - zel Jes -

ße Wur - zel Jes - se,

sü - ße Wur - zel Je - se, die

se!

se, die sü - ße Wur - zel Jes - -

die sü - ße Wur - zel Jes -

sü - ße Wur - zel Jes - - - -

se

se!

se!


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

39


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

42


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

45


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

48

Du


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

51

Sohn Da - - -

du Sohn Da-vids aus Ja - kobs

DuSohn

vids aus

Du Sohn -

Stamm, aus Ja - kobs Stamm, du Sohn Da -

Da-vids aus Ja - kobs Stamm, aus Ja - kobs

Ja - - - - kobs

Dav-ids aus Ja - kobs Stamm, aud Ja - kobs

vids aus Ja - kobs Stamm, aus Ja - kobs

Stamm, duSohn Da - vids aus Ja - kobs


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

54

Stamm,

Stamm, du Sohn Da -vids aus Ja - kobs

Stamm, du Sohn Da -vids aus Ja - kobs

Stamm, du Sohn Da-vids aus Ja - kobs

Stamm,

Stamm,

Stamm,


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

57

mein Kö - nig und mein Bräu - ti -

mein Kö - nig

gam, mein Kö - nig und mein

und mein Bräu - ti

mein Kö -nig und mein Bräu - ti -

Bräu - ti - gam, mein Kö - nig

gam, mein Kö - nig und mein Bräu - ti -



Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

60

und mein Bräu - ti -



mein




Kö - - - nig

gam,


gam, mein Kö - nig


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

63

und mein

mein Kö - nig und mein Bräu - ti -


und mein Bräu - - - - - ti -

Bräu - - - ti - - - -


gam, mein Kö - nig und mein Bräu - tig -


gam,





Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

66

gam,

gam,

gam,


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

69

hast

hast

mir mein

hast mir mein Herz

hast mir mein

mir mein Herz be - ses - sen hast


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

72

Herz be - - - -

be - ses - sen, hast mir

Herz be - ses - sen, hast mir

mir mein Herz be - ses - sen, hast

ses - - - - - -

mein Herz be -ses -

mein Herz be-ses - sen,

mir mein Herz be-ses - sen, hast

sen,

sen, hast mir mein Herz be -ses -

hast mir mein Herz be -ses -

mir mein Herz - be - ses - - -


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

75

sen,

sen,

sen,


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

78


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

81


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

84

lieb - - - - lich,

lieb - - - - lich

lieb - - - - lich

lieb - - - - lich

freund - - - lich,

freund - - - - - - -

freund - - - - - - -

freund - - - - - - -


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

87

lich,

lich,

lich,

schön und

schön und herr - - -

schön und herr - - -

schö und


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

90

herr - - - lich,

lich, groß und

lich, schön und herr - lich

herr - lich, schön und

groß und

ehr - lich, groß und ehr - lich,

schön und herr - lich, groß und ehr - lich

herr - lich, groß

ehr - - - lich,

reich, reich,

reich, reich,


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

93

reich von

reich

reich von Gn - - - - - - -

und ehr - lich, reich

Ga - - - - - - -

von Ga -

ben, von Ga - ben,

von

ben,

ben, reich von Ga -

groß und ehr - lich, reich von Ga -

Ga - - - - - - -


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

96

ben,

ben,

ben,


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

99

hoch und sehr präch -

hoch und sehr präch - tig er -

hoch und sehr präch - tig er - ha -

hoch und

tig er - ha - - - - -

ha - - - - - - -

ben, hoch und sehr präch-tig er - ha -


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

102

sehr präch - - - -

ben,hoch und sehr präch -

ben, hoch und sehr präch-tig er - ha - - -

tig er - - - -

tig er - ha - - - - ben, sehr

ben,hoch

ben,hochund sehr präch-tig er - ha - - - - - -

ha - - - - - -

präch-tig er - ha - - - - -

und sehr prä - tig er - ha -

ben, hoch und


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

105

ben.

ben, hoch und sehr präch - tig er - ha -

ben, hoch und sehr präch - tig er - ha -

sehr präch - tig er - ha - - - -

ben.

ben.

ben.


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

108


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

111


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

114


Cor. I

Cor. II

Ob.I

Ob. II

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

117


Ten.

B.c.

Du wah - rer Got - tes und Ma - ri - en

Recitativo.

Sohn, du Kö - nig de - rer Aus - er -

wähl - ten, wie süss ist

uns dies Leb - ens - wort, nach

Ten.

B.c.

5

dem die er - sten Vä - ter schon so

Jahr' als Ta - ge zähl - ten,

das Ga - bri - el mit Freu - den

dort in Beth - le - hem ver -

Ten.

B.c.

9

hei - ssen! O Sü - ssig -keit,

o Him - mels - brod, das we - der

Grab, Ge - fahr, noch

Tod aus uns -ern Her - zen

rei - ssen.

Ob.I

Sop.

B.c.

Aria.

[f]

pizzacato

[f]

Ob.I

Sop.

B.c.

5

Er -

Ob.I

Sop.

B.c.

9

fül-let, ihr himm-li-schen gött -

li - chen Flam - men,die

nach euch ver-lan - gen-de

gläu-bi - ge Brust.


Ob.I

Sop.

B.c.

13

Er -

Ob.I

Sop.

B.c.

17

fül - let, ihr himm - li - schen gött - - -

li - chen Flam - - - -

men, ihr himm - li-schengött -

Ob.I

Sop.

B.c.

20

li - chen Flam - men, die

nach euch ver - lan - gen-de

gläu-bi - ge Brust, die

nach euch ver-lan - - -

Ob.I

Sop.

B.c.

24

gen-de gläu - bi-ge Brust. Er -

fül - let, ihr himm - lisch - en

Ob.I

Sop.

B.c.

28

gött - li - chen Flam - men die

nach euch ver - lan - - -

gen - de gläu -bi -ge Brust.


Ob.I

Sop.

B.c.

32

Die

See - len emp - fin - den die kräf -

Ob.I

Sop.

B.c.

36

tig - sten Trie - be der

brün-stig - sten Lie - be, der

brün-stig - sten Lie - be, und

schme-cken auf Er - den die

Ob.I

Sop.

B.c.

40

himm - li-scheLust.

Ob.I

Sop.

B.c.

44

Die

See-len emp -fin-dendie kräf -

tig - sten Trie - be der

brün-stig - sten Lie - be, der

Ob.I

Sop.

B.c.

48

brün - stig - sten Lie - be, und

schme-cken auf Er - den die

himm - li - sche Lust.


Ob.I

Sop.

B.c.

52

Ob.I

Sop.

B.c.

57

Er -

fül - let, ihr himm - li - schen gött -

li - chen Flam - men, die

Ob.I

Sop.

B.c.

61

nach euch ver- lan - gen-de

gläu-bi - ge Brust.

Ob.I

Sop.

B.c.

65

Er -

fül-let, ihr himm-lih-schen gött -

li - chen Flam - - -

Ob.I

Sop.

B.c.

69

men, ihr himm - li - schen gött - - -

li - chen Flam - - men,die

nach euch ver - lan - gen-de


Ob.I

Sop.

B.c.

72

gläu - bi - ge Brust, er - fül - let, ihr

himm - li - schen gött - li - chen Flam - - - - - - - - -

Ob.I

Sop.

B.c.

75

men, die nach euch ver-lan -

gen-de gläu-bi-ge Brust.

Ob.I

Sop.

B.c.

80

Basso

B.c.

Ein ird' - scher Glanz, ein leib - lich

Recitativo.

Licht, rührt mei - ne See - le

nicht; ein Freu - - - den - schein ist

Basso

B.c.

4

mir von Gott ent-stan-den, denn

ein voll-komm-nes Gut, des

Hei-lands Leib und Blut, ist

zur Er-quick - ung da. So

muss uns ja der ü-ber-rei-che

Basso

B.c.

9

Seg - en, der uns von E - wig - keit be -

stimmt, und un - ser Glau - be zu sich

nimmt, zum Dank und Preis be -

we- gen.


Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Ten.

B.c.

Aria.

staccato

staccato

staccato

[f]

[f]

[f]

[f]

[f]

[f]

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Ten.

B.c.

8


Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Ten.

B.c.

17

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Ten.

B.c.

26

Un - ser

pianissimo

Mund und

pianissimo

pianissimo

pianissimo

pianissimo

pianissimo

Ton der

Sai -

ten sol - len

dir für und


Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Ten.

B.c.

35

für, für und

für

Dank und

O - pfer be -

rei -

ten.

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Ten.

B.c.

44

Un - ser

Mund und

Ton der

Sai -


Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Ten.

B.c.

53

ten sol - len

dir für und

für, für und

für

Dank und

O - - -

pfer zu - be -

ten.

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Ten.

B.c.

61

ten. Un - ser

Mund und Ton

der

Sai -

ten sol - len

dir für und

für, für und

für

dank und


Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Ten.

B.c.

70

O - pfer

be- rei -

ten, Dank und

O - - - - -

pfer zu

be- rei -

ten.

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Ten.

B.c.

80


Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Ten.

B.c.

89

Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

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98

Fine

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Herz und

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Vln. conc.

I

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Vln I

Vln II

Vla

Ten.

B.c.

107

sind er -

ho - ben,

le - bens -

lang mit Ge -

sang

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II

Vln I

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116

nig,

dich zu

lo - - - - - -

ben,

le -bens -


Vln. conc.

I

Vln. conc.

II

Vln I

Vln II

Vla

Ten.

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125

lang mit Ge -

sang gro - sser

Kö - nig, dich

zu lo -

ben.

Vln. conc.

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133


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141

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Ten.

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149

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Vln. conc.

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Ten.

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156

nig,

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Herz und

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Vln II

Vla

Ten.

B.c.

165

ho - - -

ben, le - bens -

lang mit Ge -

sang gro - sser

Kö - - - - -

nig, dich

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Da Capo

Da Capo

Da Capo

Da Capo

Da Capo

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ben.

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Cor. I

Cor. II

Ob.I

Ob. II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

Wie

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WieEr

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Chorale

bin

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Cor. I

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Alt.

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5

An -

klopf'

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A - - - men!

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Komm du schö - ne

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Cor. I

Cor. II

Ob.I

Ob. II

Vln I

Vln II

Vla

Sop.

Alt.

Ten.

Basso

B.c.

11

Freu - den - kro - ne,




bleib' nicht lan -

bleib' nicht lan -

bleib' nicht lan -

bleib' nicht lan -

ge, dei - ner

ge, dei - ner

ge, dei - ner

ge, dei - ner

wart' ich mit Ver -

wart' ich mit Ver -

wart' ich mit Ver -

wart' ich mit Ver -

lan - gen.

lan - gen.

lan - gen.

lan - gen.


Bach Cantata, Wie schön leuchtet der Morgenstern, BWV 1.

DotMus Notes BWV1 - 1 -


25th March, 1725. Festo annunciationis Mariae. Bc. A173. Dürr ii/546. Whittaker ii/104. BG 1 p. 1. NBA 28.2 p 1. CC 11 p. 435. Eulenburg 1012. Werner Richter Harnoncourt Rotzsch Rilling Suzuki Koopman Leusink Gardiner King 1965 I/4 1968 II/2 1971 1983 1980 2005 34 IV/11 2000 21

The numbering of the Bach cantatas follows that given in Schmieder’s Bach-Werke-Verzeichnis [Catalogue of Bach’s Works] first published in 1950.1 In turn, Schmieder followed the sequence established by the Bach Gesellschaft Gesamtausgabe, the monumental edition of Bach’s music, published in 47 volumes between 1850 and 1899. The impetus for this remarkable scholarly enterprise stemmed from the increasing awareness throughout the early nineteenth century of Bach’s exceptional cultural significance. A major milestone in this journey was Mendelssohn’s performance of the St Matthew Passion in 1829. The editors of the Bach Gesellschaft had intended to commence publication with the B Minor Mass, but, because there were difficulties in accessing the holograph materials, they started instead with a volume of ten cantatas. The sequence in which the cantatas were presented was to a large extent random, though clearly the editors aimed to impress their original subscribers with a particularly resplendent opening selection. A small group of cantatas had previously been published c.1830 by Simrock of Bonn, under the editorship of A.B. Marx; this group was retained intact in the Bach Gesellschaftedition, forming the sequence BWV 101-106. Occasionally, other patterns can be discerned – for example, volume XII includes a series of cantatas for solo voice (BWV 51-56)2 and a duet cantata (BWV 57). But, in general, the BWV number conveys no liturgical, stylistic or chronological significance.

Wie schön leuchtet der Morgenstern, BWV 1, was composed to celebrate the festival of the Annunciation of the Blessed Virgin Mary, 25th March 1725, which, in that year, coincided with Palm Sunday. Bach and his librettist drew together theological and musical images appropriate to both festivals, and, by basing the work on a chorale more usually associated with Advent, emphasised the sense of anticipation and the hopefulness of a new beginning.3 For reasons not fully known, this work proved to be the last Chorale Cantata of the remarkable series begun on Trinity Sunday, 1724.4 In these cantatas, the text of a well-known chorale (hymn) was adapted to form the cantata libretto. Usually (as here), the first and last verses were retained together with their associated melody as the bases of the opening chorus and concluding chorale respectively; the middle verses were paraphrased to supply the text for the recitatives and arias.

1 Schmieder, Wolfgang, Thematisch-systematisches Verziechnis der musikalischen Werke von Johann Sebastian Bach, [known as Bach Werke Verzeichnis] Leipzig: Brietkopf und Härtel, 1950. 2 Schlage doch, gewünschte Stunde was included in the Bach Gesellschaft edition as BWV 53, though it was later shown to have been composed by Georg Melchior Hoffmann. 3 For further discussion of these interconnections, see Chafe, Eric, Analyzing Bach Cantatas, New York: OUP, 2000, p. 262 note 12. 4 There is strong circumstantial evidence that the librettist was Andreas Stübel, formerly Co-Rector of St Thomas School. His death in January 1725 would have deprived Bach of suitably adapted, chorale-based texts. See Hans-Joachim Schulze, “Texte und Textdichter” in ed. Christoph Wolff, Die Welt der Bach Kantaten 3, Stuttgart: Metzler, 1999, p. 116.



Philipp Nicolai’s hymn, “Wie schön leuchtet der Morgenstern”, was first published in 1599; the tune itself may be older in origin. The poetic images of Christ as the guiding star and as the heavenly bridegroom for whom the soul yearns were both well-known in the Lutheran tradition. For the two recitatives and arias, the cantata librettist has skilfully interwoven elements of the chorale text with parallels drawn from the set readings for the day – Isaiah’s prophecy of the coming of Christ and Gabriel’s announcement to Mary. For example, in the first recitative, the cantata librettist has combined the image of the ‘high-born King’, taken from the second stanza of the chorale text, with Gabriel’s message, as recounted in St Luke’s Gospel. Thus the cantata libretto ingeniously combines a hymn of praise appropriate to Palm Sunday (Christ’s triumphant entry into Jerusalem) with references to the Annunciation (foretelling Christ’s birth). Bach incorporated this celebrated chorale into several works (see cantatas BWV 36, 37, 49, 61 and 172) though frequently in more ornate versions. For the opening chorus of this cantata, Bach reverted to the ‘pure’ form of the melody, but set it in 12/8 time, giving a joyful, dance-like feel. The chorale is unusual in that its ten lines are of widely varying lengths (from one bar to three-and-a-half) and tonally rather static in F major. If Bach considered these aspects to be restrictive, he responded by creating a sublime opening chorus from just two elemental one-bar ideas. The opening motif is a précis of the first line of the chorale, clearly seen by comparing the bass version of the motif (from bar 14) with the chorale line (Example 1); initially, this is very lightly scored for just solo violin and continuo. By contrast, the second bar comprises a richly embellished chord of F major, combining triumphant arpeggio patterns in the wind instruments (two horns and two oboes da caccia) with glittering semiquaver figuration on the two solo violins. The subsequent roles of these contrasting ideas are quite strongly demarcated: from the opening motif is developed most of the material for the lower three voices; the embellished chord, on the other hand, is essentially reserved for the instrumental forces. Example 1. Derivation of BWV 1/i, first motif, from chorale tune.

Determining an appropriate tempo for the opening chorus poses a special challenge. 12/8 is a particularly distinctive metre: it underpins some of Bach’s noblest choruses and is generally treated as indicating a rather broad tempo. Commentators tend to characterise this movement as a ‘magnificent processional’, invoking such adjectives as ‘stately, leisurely’,5 ‘dignified’ and ‘ceremonial’.6 Two disparate dance traditions

5 Whittaker, W. Gillies, The Cantatas of Johann Sebastian Bach, London: OUP, 1959, vol. II p 104. Whittaker wrote the first comprehensive survey of Bach’s cantatas in English; his comments are well worth studying, although it is advisable to be highly circumspect regarding the historical context: the dates of the cantatas suggested by Whittaker are now considered quite inaccurate.



inform Baroque movements in compound tempi: the slower Siciliano and the contrastingly livelier Gigue. In instrumental repertoires the differences can be quite striking: the slow movement of Vivaldi’s Op 3/11, a Siciliano, bears the tempo indication ‘Largo e Spiccato’, whereas the last movement of Op 3/2, a Gigue, is ‘Allegro’. The motifs of Bach’s chorus lie more in the tradition of the Gigue than of the Siciliano (which characteristically incorporates distinctive dotted rhythms). The measured pace of the harmonies also hints at a brisk pulse: it is quite varied, frequently moving in minims, with some chords extending to a bar or more (bar 2, bars 4–5 etc). Of course, at a faster tempo, the semiquaver figuration – almost entirely confined to the concertante violins – becomes quite virtuosic, but, throughout, it is beautifully accommodated to the instrument, with plentiful open string sonorities to ease the technical burden and to brighten the overall effect. A further interpretative question concerns the ornamentation of the opening motif. It is clear from the oboe II/tenor doublings in bars 14–15 that (in this context) both mordent and trill represent notationally distinct versions of a similar underlying decorative pattern (Example 2). In both cases, the parallel melodic line in the vocal part is rendered in continuous quavers. For the instrumental line to duplicate this, the trill must begin on a quaver-long upper appoggiatura, perhaps as illustrated in the upper stave of Example 1. Whether the same ornamentation should be adopted by the horns when using modern instruments (bar 8 etc) is also open to question. Occasionally the interpretation of the appoggiatura presents problems: in bar 98, for example, continuing a rather dissonant sequence, the second solo violin plays C–B against B in the ripieno violins. Example 2. Comparison of vocal and instrumental lines b. 14.

The opening chorus melds three distinct formal principles: ritornello construction, derived from the high-baroque concerto, cantus firmus technique, more usually associated with mass and motet settings from the Renaissance, and Barform, the characteristic shape of the chorale tune. Bach studied ritornello form in the music of his Italian contemporaries – especially Vivaldi. Characteristically, in a concerto of the Baroque period, there is a distinctive textural contrast between the ritornello (“returning”) theme played by the full ensemble (tutti) and the solo episodes, which are usually more lightly scored. Conceptually, in the chorale cantata, this solo-tutti

6 Gardiner, John Eliot, notes for CD SDG 118, p 15.



textural antithesis has been replaced by a tonal contrast between the purely instrumental passages and the accompanied chorale phrases, in which the chorale melody is retained as a cantus firmus (“fixed song”) in the soprano part. The chorale tune itself is cast in Barform: the first three melodic lines7, known as the Stollen, are repeated; the remaining four lines form the Abgesang. This AAB structure is reflected in the overall shape of the opening chorus: bars 1–37 are repeated as bars 38–74; bars 75–119 include the Abgesang. The chorus begins and ends with a radiant twelve-bar instrumental ritornello, which also appears in full from bar 38. Apart from these full statements, the ritornello theme appears abbreviated and sometimes developed between the lines of the chorale. For example, after the second chorale line (bars 20–29), Bach restates the material from bars 5–8. The soprano8 sings each chorale phrase in long notes as a cantus firmus, doubled by the first horn. Below this, the lower voices interweave contrapuntal phrases based on the opening motif. The lower voices are reinforced by oboes and ripieno strings, while the solo violins continue their glittering semiquaver figuration. The second vocal episode (from bar 20) begins in the lower voices, developing the same motif, but this time also incorporating the chorale tune in diminution (shorter note values – dotted crotchets in tenor, bar 20, and alto, bar 22). This type of anticipation of the main theme is known as “pre-imitation”. The third chorale phrase, with its six-note descending scale, elicits a very characteristic Baroque compositional response: an extended sequence of suspensions, seen most clearly in the second horn, bar 34. The whole opening section is now reviewed to allow the Stollen of the chorale to be repeated with its new text. However, Bach’s setting incorporates numerous changes of detail: for example, the opening motif is now on the horn (bar 38) and the violins move up an octave (bar 41). The setting of the Abgesang – the second part of the chorale – is interspersed with modulating and sometimes quite dissonant ritornello material, initially scored for just the string ensemble; the first leads, via a circle of fifths (bb 75–78), towards D minor. The single-bar chorale lines (bars 84 and 86) resonate to the decorated chord from bar 2. Bar 86 incorporates a particularly affective harmonic shift from C major to A major, leading again to D minor for the tenth line of the chorale. The subsequent ritornello is quite distinctive: the imitative phrases passed between the two violins outline an unusual real sequence, which modulates from F major (bar 96), through G major (bar 98) to A major (bar 100). The finale chorale line – a scale descending through a full octave – is, like the close of the Stollen, harmonised with an extended sequence of suspensions, this time imparting an emphatically resounding sense of fulfilment. Both recitatives are secco (just continuo-accompanied), and, though compact, are full of expressive nuance. The first, for tenor, is purely syllabic, with declamatory repetition on “Süssigkeit” [sweetness] and, as Whittaker points out, a striking false relation in the penultimate bar.9 The second, for bass, incorporates brief melismas on “Freudenschein” [joyful glow] and “Erquickung” [comfort].

7 In a chorale tune, the end of each melodic line is traditionally demarcated with a pause (fermata) sign. 8 I have used soprano in the singular here, though how many singers Bach allocated to each line is the subject of much scholarly debate; theories range from one singer to three or four per part. 9 Whittaker, op. cit., Vol 2 pp. 107–8.



The two arias maintain the joyful, dance-like quality engendered by the opening chorus, a feeling underscored by a transparency and lightness in the accompanying lines: pizzicato cello in the soprano aria, and staccato (emphasised both with the word and dots) for the ripieno strings in the tenor aria. The first aria combines the soprano voice with an obbligato accompaniment on the oboe da caccia, the semiquaver figuration of which represents the “heavenly, Godly flames”. Rather unusually the original performance material includes two copies of the part for oboe solo, one notated in the alto clef and the other notated as a transposing part in the treble clef, though it seems highly unlikely that Bach required two players to perform this single line. The aria is constructed in ‘modified da capo form’ (A B A’) in which the first section (A) modulates to the dominant and the middle section (B) develops the material from A, starting and ending in the relative minor. Section A is then restated, but modified to end on the tonic; the point of modification falls relatively late in the process (compare bar 72 with bar 22). The virtuosic tenor aria poses some interesting questions. It is intriguing to speculate how the original subscribers to the Bach Gesellschaft edition responded to this first offering, containing music so very different from the aesthetic prevailing in the mid-nineteenth century. One imagines a sense of awe, but also bewilderment, particularly at the extraordinarily challenging writing for solo voice. The tenor aria is, as it happens, one of the most technically demanding from Bach’s pen, with its semiquaver runs, arpeggiated patterns, delicate trills, repeated notes and sustained high tessitura. Bach was criticised in his own day for expecting his vocalists to perform with instrument-like agility.10 This view may have seemed even more apposite to the mind of the mid-romantic musician. Several scholars have speculated whether this movement has been adapted from a now-lost secular original.11 Certainly, the minuet style would not be out of place in a secular cantata, nor, indeed, in a concerto movement. As in the opening chorus, and appropriately for this hymn of praise performed on “Voice and with the resonance of strings”, the string ensemble is enriched by two solo violins. Bach explores the textural possibilities of this concerto-like string group to the full. Sometimes the solo violins combine in unison with the first ripieno violin; sometimes they join in “folk-like” thirds; occasionally they exchange imitative phrases; most intriguingly, they often play the “semi-quaver-pair motif” against a simplified, staccato version of their own line. These subtle instrumental colourings are counterpoised with varied playful rhythms within the 3/8 metre. One slightly puzzling moment, b 146, comprises a descending semiquaver scale in the first solo violin, the final two semiquavers of which produce consecutive fifths against the tenor line. Perhaps, at an appropriate tempo such parallels are unnoticeable, but if the last two semiquavers in the violin part were B flat–A, this would, first, maintain the pattern in sixths with the solo voice, and secondly, establish the sequence to be

10 J. A. Scheibe wrote, “He demands that singers and instrumentalists should be able to do with their throats and instruments whatever he can play on the clavier. But this is impossible.” The New Bach Reader p. 338. 11 Whittaker, op. cit., p 109, cites the trill on “und”; Arnold Schering, preface to Eulenburg score No. 1012, Berlin: Eulenburg, 1928, p iv, discusses the underlay in bb. 60 – 61; the missing “zu” of “zubereiten” in bar 38 might also be noted.


DotMus Notes BWV 1 - 6 -

used in bars 148 and 150. The original and possible “corrected” reading are shown in Example 3.

Example 3. Possible “correct reading” of bar 146?

The closing chorale is a homophonic setting of the tune, with the instruments doubling the voices. Bach has enriched this ensemble with a vigorous counterpoint played by the second horn.

Recordings

There are several fine recordings of this cantata. The radiant appeal of all the movements lends itself to a wide range of interpretative styles. Helmut Rilling’s 1980 account benefits from the polished technical standard his team achieved in both performance and recording. There is a particularly glowing interpretation of the opening chorus and concluding chorale by the King’s Consort (Hyperion, King5). Elly Ameling recorded a superb interpretation of the soprano aria for a CD devoted to Bach’s arias with oboe obbligato (EMI), and it is to be regretted that such a great singer was not more closely involved with one of the major cantata series. The recitatives, which are sometimes over-interpreted, are particularly effective under Nicolaus Harnoncourt’s direction. For a complete performance, which is consistently fine, with a well-paced opening chorus plus the considerable benefit of Peter Schreier in his prime for the tenor aria, Hans-Joachim Rotzsch’s account is much to be recommended (Berlin Classics). As ever, for an overall high level of technical polish, the 2005 recording by Suzuki is a secure choice (BIS).

Mark Ellis May 2011

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Documents

Johann Sebastian Bach Cantata Wie schön leuchtet der ...Festo annunciationis Mariae. Bc. A173. Dürr ii/546. Whittaker ii/104. BG 1 p. 1. NBA 28.2 p 1. CC 11 p. 435. Eulenburg 1012