Halt im Gedächtnis Jesum Christ, BWV 67

Remember Jesus Christ ( BWV 67) is a church cantata by Johann Sebastian Bach. He wrote it in Leipzig for Quasimodogeniti, the first Sunday after Easter, and performed it on April 16, 1724 for the first time.

History and words

Bach composed the cantata in his first year in Leipzig, according to his St John Passion, for Sunday Quasimodogeniti. The prescribed readings for the Sunday were from 5.4 to 10 LUT 1 John, " our faith is the victory that has overcome the world ", and Jn 20.19-31 LUT, the appearance of Jesus with the disciples in Jerusalem after his resurrection, only without Thomas, then with it. The unknown librettist begins with a verse from the second letter to Timothy ( 2 Tim 2.8 LUT). The poet sees the analogy of Thomas and the doubting Christians generally.

In the middle of the cantata is the Easter song has appeared to the glorious days of Nicholas Herman ( 1560), which praises the Day of Resurrection. Clause 5 provides for the contrary, the danger posed by the enemies to in sentence 6 Jesus appears as the disciples in Jerusalem, and brings peace. The line " Peace be with you " appears in four sections, the frame- three stanzas of a poem. The final chorale is the first verse of Jacob Ebert's song "You Prince of Peace, Lord Jesus Christ ," which Bach later in the same chorale cantata BWV 116 edited.

Scoring and structure

The cantata is staffed with three vocal soloists ( alto, tenor and bass), four-part choir, Corno da tirarsi, Flauto traverso, two oboe d'amore, two violins, viola and basso continuo.

Music

The opening chorus as well as the entire cantata considered the conflict of hope and resurrection on the one hand, memory and doubt on the other. The choral writing is symmetrically divided into seven sections, beginning with an instrumental sinfonia all instruments. It turns the horn still an issue, which stands for the commemoration of the death of Jesus and the melody of the Passion chorale " O Lamb of God, innocent," recalls the creek began in the opening chorus of his St. Matthew Passion later as cantus firmus. In the second section of the soprano sings this tune, the lower voices stress by multiple homophonic interjections the word " stop". In the third section of the soprano repeats the melody, while first recites the Old as counter-subject of a fugue, a theme that the resurrection is through a busy upwards guided movement that spans more than one octave. The central fourth section repeats the Sinfonia with embedded choir, sections 5-7 convert the sections 2 to 4 from.

The tenor aria My Jesus is risen is accompanied by an obbligato oboe d' amore. The theme is presented by the strings and recorded by the singing voice, while a run up appears "resurrected " in the word. The first stanza of the Easter song Released is the glorious day is set in the center of the composition by two alto recitative.

Clause 6 provides even more of a singer to the choir over. The strings initiate a Sinfonia, " whose violent movement reflects the onslaught of the enemy ." In stark contrast to her forte in a 4 /4 time appears on the piano, 3 /4 time and accompanied by gentle dotted rhythms of the woodwinds of the bass as the Vox Christi and sings three times the greeting Jesus in verse 19 of the Gospel to the disciples directed "Peace be with you". Reply to the three upper voices of the choir to the music of the introduction and recognize Jesus as a helper in the fight, " helps us fight and dampen the fury of the enemies." Peace greeting and response are repeated two more times in the second chorus verse it says " restores in us weary mind and body at the same time " and " to penetrate through death " in the third. In the final last greeting of peace, the strings play with the woodwinds as a symbol of peace. Bach worked this sentence to Gloria his Missa in A major, BWV 234. The cantata will be decided by a four -part setting of the hymn you Prince of Peace, Lord Jesus Christ.

Recordings

  • Historic Bach cantatas (Karl Straube, 1931). Karl Straube, St. Thomas Boys Choir, the Gewandhaus Orchestra, Dorothea Schröder, Hans Lissmann. Bach Archive in Leipzig, 1931.
  • Bach: Cantatas No.. 67 & 11, from cantata no. 147 Reginald Jacques, The Cantata Singers, The Jacques Orchestra, Kathleen Ferrier, William Herbert, William Parsons. Decca Ace of Clubs, London, 1949.
  • Bach Made in Germany Vol 1 - Cantatas IV Günther Ramin, St. Thomas Boys Choir, the Gewandhaus Orchestra, Gertrud Wagner, Gert Lutze, John Oettel. Eterna 1954.
  • JS Bach: Cantatas BWV 67, 108 & 127 Karl Richter, Munich Bach Choir, Bavarian State Orchestra, Lilian Benningsen, Peter Pears, Kieth Engen. Teldec, 1958.
  • Les Grandes Cantates de JS Bach, Vol 7 Fritz Werner, Heinrich-Schütz -Chor Heilbronn, Pforzheim Chamber Orchestra, Marga Höffgen, Helmut Krebs, Franz Kelch. Erato, 1960.
  • Ansermet conducts Bach Cantatas No.. 130, no. 67, excerpts from No. 101 Ernest Ansermet, Choeur Pro Arte de Lausanne, L' Orchestre de la Suisse Romande, Helen Watts, Werner Krenn, Tom Krause. Decca, 1968.
  • JS Bach: The cantatas - Sacred Cantatas Vol 4 Gustav Leonhardt, Hannover Boys Choir, Collegium Vocale Gent, Leonhardt Consort, Paul Esswood, Kurt Equiluz, Max van Egmond. Teldec, 1976.
  • JS Bach: Complete Cantatas Vol 7 Ton Koopman, Amsterdam Baroque Orchestra & Choir, Elisabeth von Magnus, Gerd Türk, Klaus Mertens. Antoine Marchand, 1997.
  • Lecture Concerts - New Recordings Cantatas. Helmuth Rilling, Gächinger Kantorei, Bach-Collegium Stuttgart, Ingeborg Danz, James Taylor, Michael Volle. Hänssler, 1998.
  • Bach Cantatas Vol 23: Arnstadt / Echternach / For the 1st Sunday after Easter ( Quasimodogeniti ) / For the 2nd Sunday after Easter ( Misericordas Domini ). John Eliot Gardiner, Monteverdi Choir, English Baroque Soloists, Daniel Taylor, Charles Daniels, Stephen Varcoe. Soli Deo Gloria, 2000.
  • JS Bach: Cantatas Vol 18 - Cantatas from Leipzig 1724 - BWV 66, 67, 134 Masaaki Suzuki, Bach Collegium Japan, Robin Blaze, Makoto Sakurada, Peter Kooij. BIS, 2001.
  • JS Bach: Cantatas for the Complete Liturgical Year, Vol 11 Sigiswald Kuijken, La Petite Bande, Gerlinde sower, Petra Noskaiová, Christoph Genz, Jan van der crabbing. Accent, 2008.
Jakob Ebert Bach-Werke-Verzeichnis First Epistle of John Bass (voice type) Homophone Gloria in excelsis Deo Leipzig Gewandhaus Orchestra Karl Richter (conductor) Decca Records Knabenchor Hannover Leonhardt-Consort Peter Kooy Werner Neumann Christoph Wolff Integrated Authority File Ach Gott, wie manches Herzeleid, BWV 3 Allein zu dir, Herr Jesu Christ, BWV 33 Brich dem Hungrigen dein Brot, BWV 39 Am Abend aber desselbigen Sabbats, BWV 42 Also hat Gott die Welt geliebt, BWV 68 Alles nur nach Gottes Willen, BWV 72 Alles, was von Gott geboren, BWV 80a Bisher habt ihr nichts gebeten in meinem Namen, BWV 87 Ach, lieben Christen, seid getrost, BWV 114 Christum wir sollen loben schon, BWV 121 Auf Christi Himmelfahrt allein, BWV 128 Aus der Tiefen rufe ich, Herr, zu dir, BWV 131 Bereitet die Wege, bereitet die Bahn! BWV 132 Erforsche mich, Gott, und erfahre mein Herz, BWV 136 Bringet dem Herrn Ehre seines Namens, BWV 148 Ach! ich sehe, itzt, da ich zur Hochzeit gehe, BWV 162 Barmherziges Herze der ewigen Liebe, BWV 185 Mein Herze schwimmt im Blut, BWV 199 Entfliehet, verschwindet, entweichet, ihr Sorgen, BWV 249a St Mark Passion (Bach)
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