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Gleichwie der Regen und Schnee vom Himmel fällt , BWV 18

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Gleichwie der Regen und Schnee vom Himmel fällt (Just as the rain and snow fall from heaven),[1]BWV 18, is an early church cantata by Johann Sebastian Bach. He composed it in Weimar for the Sunday Sexagesimae, the second Sunday before Lent, likely by 1713.

The cantata is based on a text by Erdmann Neumeister published in 1711. While at Weimar Bach set at least one other cantata text by this librettist; he also set others by the court poet Salomon Franck. The text cites Isaiah, related to the gospel, the parable of the Sower. The third movement is in the style of a sermon, combined with a litany by Martin Luther. The closing chorale is the eighth stanza of Lazarus Spengler's hymn "Durch Adams Fall ist ganz verderbt".

La cantata se sitúa relativamente pronto en la cronología de composiciones de Bach. Posiblemente fue compuesta para ser interpretada el 24 de febrero de 1715, pero es más probable que fuera uno o incluso dos años antes. Sexagesima siempre cae en enero o febrero, por lo que la referencia a la nieve en el título habría sido relevante para el clima de la época. Bach estructuró la obra en cinco movimientos, una sinfonía , un recitativo , un recitativo con coral, un aria y un coral final. La orquestó para tres solistas vocales, un coro a cuatro voces solo en el coral y un conjunto instrumental barroco , inusual por tener violas pero no violines. Los instrumentos originalmente especificados eran cuatro violas, violonchelo, fagot y bajo continuo. Cuando volvió a interpretar la obra como Thomaskantor en Leipzig, añadió dos flautas dulces para duplicar las violas I y II una octava más arriba, creando así un sonido general más ligero.

Historia y palabras

Bach trabajó para la corte de Weimar desde 1708. Como parte de su trabajo en puestos anteriores, había compuesto cantatas, pero en Weimar inicialmente se dedicó principalmente a otros proyectos. En 1713 se le ofreció un puesto en la Marktkirche , una iglesia en Halle , pero se le ofrecieron incentivos para que permaneciera en Weimar. Recibió un ascenso el 2 de marzo de 1714, lo que resultó en que compusiera cantatas mensualmente. [ 2 ] Se cree que BWV 18 es una de las pocas cantatas que Bach compuso en Weimar antes de 1714. Al igual que las cantatas posteriores de Weimar, se habría interpretado en la Schlosskirche , la capilla de sus empleadores, los duques corregentes.

Bach compuso esta cantata para el segundo domingo antes de Cuaresma , llamado Sexagesima . Las lecturas prescritas para el domingo fueron tomadas de la Segunda Epístola a los Corintios , «El poder de Dios es poderoso en los débiles» ( 2 Corintios 11 : 19–12:9 ), y del Evangelio de Lucas , la parábola del sembrador ( Lucas 8 : 4–15 ). [ 3 ]

The cantata is based on a text by Erdmann Neumeister, a pioneer of the use of a format using recitative and aria, which was new in religious music. This text was written for the Eisenach court and published in Gotha in 1711 in the collection Geistliches Singen und Spielen (Sacred singing and playing),[4] which had been set to music by Georg Philipp Telemann.[3] It is one of few texts set to music in Weimar which were not written not by the court poet Salomon Franck.[5] The text cites Isaiah in the second movement, "For as the rain cometh down, and the snow from heaven, … So shall my word be ..." (Isaiah55:10–11), related to the Gospel about God's word compared to seed.[6] In the third movement, the poet combines warnings of the dangers to God's word in the style of a sermon with four lines of prayer from a litany by Martin Luther. The closing chorale is the eighth stanza of Lazarus Spengler's hymn "Durch Adams Fall ist ganz verderbt" (1524).[3][7]

The cantata falls relatively early in Bach's chronology of cantata compositions. It was possibly composed for 24 February 1715, but more likely a year or two earlier.[3] The Bach scholar Christoph Wolff states: "The original performing material has survived and allows us to date the work to 1713".[4] Bach performed the cantata again when he was Thomaskantor in Leipzig in 1724, with an expanded scoring in a different key.[3] It was then probably performed in the same service as the newly composed Leichtgesinnte Flattergeister, BWV 181.[8]

Music

Structure and scoring

Bach structured the cantata in five movements, an instrumental sinfonia, a recitative, a recitative with chorale, an aria and a closing chorale. He scored the work, like other cantatas written in Weimar, for a small ensemble of three vocal soloists (soprano (S), tenor (T), bass (B)), a four-part choir only in the chorales, and a Baroque instrumental ensemble of four violas (Va), cello (Vc), bassoon (Fg) and basso continuo.[6][9] The setting for four violas is unusual.[6] In a similar orchestration, the Brandenburg Concerto No. 6 also omits violins.

The second version of this cantata for a performance in Leipzig adds two recorders, which double viola I and II an octave higher. John Eliot Gardiner compares the effect to a four-foot stop on a pipe organ.[10] The cantata begins in G minor in the Weimar version, in A minor in the Leipzig version. In the following table of the movements, the scoring and keys follow the Neue Bach-Ausgabe for the Leipzig version. The time signatures are taken from the book on all cantatas by the Bach scholar Alfred Dürr, using the symbol for common time (4/4).[3] The continuo, played throughout, is not shown.

Movements

Parable of the Sower, etching by Jan Luyken

The keys in this section refer to the Weimar version, although the recording by Masaaki Suzuki, with commentary by Klaus Hofmann, uses the Leipzig keys. Hofmann notes the work's "Lutheran character", quoting Luther's litany inserted in the third movement, and sees it as a "recitative study", exploring the secco recitative of the Italian opera, introduced by Erdmann Neumeister, and also the accompagnato with rich instrumental accompaniment.[6] Gardiner finds all three cantatas for the occasion, dealing with God's word, "characterised by his vivid pictorial imagination, an arresting sense of drama, and by music of freshness and power that lodges in the memory".[10]

1

The cantata opens with a sinfonia in G minor, which illustrates falling rain and snow in descending phrases. In da capo form, it is reminiscent both of a chaconne and a concerto. The four violas and continuo, with bassoon and cello parts specified, create an unusual sound,[6] termed "magically dark-hued sonority" by Gardiner.[10]

2

The quotation from Isaiah, "Gleichwie der Regen und Schnee vom Himmel fällt und nicht wieder dahin kommet" (Just as the rain and snow fall from heaven and do not return again to it),[1] is sung by the bass, the vox Christi (voice of Christ), in a secco recitative.[3] This is Bach's first adaptation of recitative in a church cantata, not following operatic patterns, but "a lucid presentation of the text in a dignified, highly personal style".[10]

3

The central movement, "Mein Gott, hier wird mein Herze sein" (My soul’s treasure is God’s word),[1] is unique in Bach's cantatas, the choir soprano interrupts the prayer of the male soloists four times, followed by a conclusion of the full choir "Erhör uns, lieber Herre Gott!" (Hear us, dear Lord God!).[1][3] The recitatives are marked adagio in E-flat major, while the interspersed litany is presented dramatically (allegro in C minor).[6] Gardiner compares the imagery of the recitatives: "all adds up to a vivid, Brueghel-like portrayal of rural society at work – the sower, the glutton, the lurking devil, as well as those pantomime villains, the Turks and the Papists. He compares the movement to Telemann's setting of the same text and states:

On the other hand here is Bach, seeming to relish the contrast between archaic litany and his new 'modern' recitative style in which he empowers his two male soloists to voice personal pleas for faith and resolution in the face of multiple provocation[s] and devilish guile, with increasingly virtuosic displays of coloratura, ever-wider modulations and extravagant word-painting on 'berauben' (to rob), 'Verfolgung' (persecution) and 'irregehen' (to wander off course).[10]

4

The only aria, "Mein Seelenschatz ist Gottes Wort" (My soul’s treasure is God’s word),[1] is set for soprano, accompanied by the four violas in unison.[6]

5

The cantata closes with a four-part setting of Spengler's hymn stanza,[11] "Ich bitt, o Herr, aus Herzens Grund" (I pray, o Lord, from the bottom of my heart),[1] It is Bach's first of many to come as the typical conclusion of his cantatas.[10]

Recordings

The selection is taken from the listing of the Bach Cantatas Website.[12] Choirs with one voice per part (OVPP) and ensembles playing period instruments in historically informed performances are marked by green background.

Referencias

  1. ^ Dellal , Pamela .​​​ "BWV 181  – Gleichwie der Regen und Schnee vom Himmel fällt" . Música de Emanuel . Consultado el 20 de agosto de 2022 .
  2. ↑ Koster, Jan. "Weimar 1708–1717" . let.rug.nl. Archivado del original el 28 de marzo de 2014. Consultado el 16 de diciembre de 2011 .
  3. ^ Durr , Alfred ( 1981 ) .​​ Die Kantaten von Johann Sebastian Bach (en alemán). vol. 1 (4 ed.). Deutscher Taschenbuchverlag. págs. 209 –211. ISBN    3-423-04080-7.
  4. 12Wolff, Christoph (1997). "Gleichwie der Regen und Schnee vom Himmel fällt" BWV 18(PDF). Bach Cantatas Website. pp. 9, 10. Retrieved 29 January 2013.
  5. ↑Dürr, Alfred; Jones, Richard D. P. (2006). The Cantatas of J. S. Bach: With Their Librettos in German-English Parallel Text. Oxford University Press. p. 16. ISBN 0-19-929776-2.
  6. 1234567Hofmann, Klaus (2005). "BWV 18: Gleichwie der Regen und Schnee vom Himmel fällt (For as the rain and snow come down from heaven)"(PDF). Bach Cantatas Website. pp. 5–6. Retrieved 30 January 2013.
  7. ↑"Durch Adams Fall ist ganz verderbt / Text and Translation of Chorale". Bach Cantatas Website. 2005. Retrieved 3 February 2011.
  8. ↑Mincham, Julian (2010). "Chapter 43 Bwv 18 – The Cantatas of Johann Sebastian Bach". jsbachcantatas.com. Retrieved 16 August 2022.
  9. ↑Bischof, Walter F. "BWV 18 Gleichwie der Regen und Schnee vom Himmel fällt". University of Alberta. Retrieved 22 January 2016.
  10. 123456Gardiner, John Eliot (2009). Johann Sebastian Bach (1685-1750) / Cantatas Nos 18, 84, 92, 126, 144 & 181 (Media notes). Soli Deo Gloria (at Hyperion Records website). Retrieved 16 February 2019.
  11. ↑"Chorale Melodies used in Bach's Vocal Works / Durch Adams Fall ist ganz verderbt". Bach Cantatas Website. 2005. Retrieved 3 February 2011.
  12. ↑Oron, Aryeh (2015). "Cantata BWV 18 Gleichwie der Regen und Schnee vom Himmel fällt". Bach Cantatas Website. Retrieved 22 January 2016.

Sources

  • Gleichwie der Regen und Schnee vom Himmel fällt, BWV 18: performance by the Netherlands Bach Society (video and background information)
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