Jesu, nun sei gepreiset, BWV 41

Jesu, nun sei glorified ( BWV 41) is a church cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig for New Year's Day and first performed it on January 1, 1725 for the first time on. It is based on the eponymous hymn by Johann Hermann.

History and words

Bach wrote the cantata in his second year in Leipzig. This year he composed a cycle of chorale cantatas, starting with the first Sunday after Trinity, 1724. New Year's Day was also celebrated as a Feast of the Circumcision of the Lord. The prescribed readings for the feast day were 3.23 to 29 Gal LUT, " the Gentiles shall return ," and Luke 2:21 LUT, the prescribed circumcision and naming of Jesus after eight days.

The cantata text is based on the hymn in three verses for the New Year by Johann Hermann ( 1591 ), who had also been choirmaster. The melody comes from Melchior Vulpius, which they published in Jena in 1609 A beautifully spiritual song book. The song calls Jesus name, suitable for the celebration of the naming. Otherwise, it is concerned, however, with the beginning of the new year.

The song was popular in Leipzig. Bach used individual verses in two other cantatas for the same occasion. These are Sing to the Lord a new song, BWV 190 and God as your name, so thy praise, BWV 171 An unknown poet kept the first and the last verse in the text and composed the single stanza to an alternating sequence of arias and recitatives to.

Bach led the cantata on January 1, 1725 for the first time in at least one other performance took place 1732-1735.

Scoring and structure

The cantata is festively decorated with four soloists, soprano, alto, tenor and bass, three trumpets, timpani, three oboes, two violins, viola, violoncello piccolo and continuo.

Music

In the opening chorus, a chorale fantasy, stream solves the problem to classify the unusually long stanza of 14 lines, of which in Leipzig usually the first two were repeated at the end. The Concerto of the orchestra is dominated by a syncopated fanfare motif of trumpets. In the first four lines repeated for the next four and the two final lines, the soprano sings the cantus firmus, the lower voices move in free polyphony. Lines 9 and 10, " in good silence" the mention are slower adagio overwritten, the choir sings homophonic in 3/4-time, accompanied by the orchestra without trumpets. Lines 11 and 12, repeated at 13 and 14, are a presto Fugato in which to play the instrument colla parte, on the text " We want to give ourselves to you." The fugue subject is derived from the beginning of the chorale melody. Lines 15 and 16 repeat the music of the lines 1 and 2 to express: " Behüt body, soul and life."

In contrast to the large orchestras opening chorus both arias were described as chamber music. The first aria for soprano will be accompanied by three oboes in pastoral 6/8-measure. A brief secco recitative leads to a tenor aria, which is dominated by the lively company of an obbligato violoncello piccolo. The last recitative for bass opens in a line from Martin Luther's German litany for four-part choir Allegro Bach sat, as if the municipality agrees to the prayer of the individual. The final chorale refers to the opening chorus by his lines are framed by its trumpet motifs. The trumpets are silent in the contrasting lines 9 to 14, of which lines are 11 to 14 in 3/4-time. The final fanfare takes the beginning of the cantata again.

John Eliot Gardiner noted that Bach makes the cyclical nature manifest by the first sentence and the whole work end, as the cantata has begun.

Recordings

  • Bach Made in Germany Vol 1 - Cantatas II, Günther Ramin, St. Thomas Boys Choir, the Gewandhaus Orchestra, soloists from the St. Thomas Boys Choir, Gert Lutze, John Oettel, Leipzig Classics 1950
  • Bach Aria Group - Cantatas & Cantata Movements, Robert Shaw, Bach Aria Group Robert Shaw Chorale & Orchestra, Eileen Farrell, Carol Smith Jan Peerce, Norman Farrow, RCA 1954
  • The Bach Cantata Vol 19, Helmuth Rilling, Gächinger Kantorei, Bach-Collegium Stuttgart, Helen Donath, Marga Höffgen, Adalbert Kraus, Siegmund Nimsgern, Haenssler 1973
  • J. S. Bach: The cantatas - Sacred Cantatas Vol 3, Nikolaus Harnoncourt, Vienna Boys Choir, Chorus Viennensis, Concentus Musicus Wien, soloist of the Vienna Boys' Choir, Paul Esswood, Kurt Equiluz, Ruud van der Meer, Teldec 1974
  • J. S. Bach: Cantatas Nos. 27, 34 & 41, Gustav Leonhardt, Tölz Boys Choir, Baroque Orchestra, soloist of the Tölz Boys Choir, Markus Schäfer, Harry van der Kamp, Sony 1995
  • J. S. Bach: Cantatas with violoncello piccolo ( Vol. 3), Christophe Coin, Choeur de Chambre Accentus, Ensemble Baroque de Limoges, Barbara Schlick, Andreas Scholl, Christoph Prégardien, Gotthold Schwarz, Astrée Auvidis 1995
  • J. S. Bach: Complete Cantatas Vol 11, Ton Koopman, Amsterdam Baroque Orchestra & Choir, Sibylla Rubens, Annette Markert, Christoph Prégardien, Klaus Mertens, Antoine Marchand 1999
  • Bach Cantatas Vol 17: Berlin, John Eliot Gardiner, Monteverdi Choir, English Baroque Soloists, Ruth Holton, Lucy Ballard, Charles Humphries, James Gilchrist, Peter Harvey, Soli Deo Gloria 2000
  • Bach Edition Vol 21 - Cantatas Vol 12, Pieter Jan Leusink, Holland Boys Choir, Netherlands Bach Collegium, Ruth Holton, Sytse Buwalda, Knut Schoch, Bas Ramselaar, Brilliant Classics 2000
  • J. S. Bach: Cantatas Vol 33, Masaaki Suzuki, Bach Collegium Japan, Yukari Nonoshita, Robin Blaze Jan Kobow, Dominik Wörner UNTIL 2005
Johannes Hermann Bach-Werke-Verzeichnis Epistle to the Galatians Thomaskantor Bass (voice type) Syncopation Motif (music) Homophony Pastorale Leipzig Gewandhaus Orchestra RCA Records Peter Harvey (baritone) Werner Neumann Christoph Wolff Klaus Hofmann 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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