Ach, lieben Christen, seid getrost, BWV 114

Unknown poet

Oh, dear Christians, be of good cheer ( BWV 114 ) is a church cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig in 1724 for the 17th Sunday after Trinity, and led them on October 1, 1724 on. It is based on the song by John Gigas.

History and words

Bach composed the cantata in his second year in office in Leipzig, where he created a cycle of chorale cantatas. The prescribed readings for the Sunday were Eph 4:1-6 LUT, the exhortation to unity of the Spirit, and Luke 14.1 to 11 LUT, the healing of a man with dropsy on the Sabbath and the exhortation to humility.

The cantata is based on the Bußlied in six verses of John Gigas ( 1561), which " does not stop with us Where God is the Lord " is sung to the tune of. The song is generally associated with the gospel, it focuses on the fact that the Christian sins and deserves punishment, but by a " blessed death " can be set from sorrow into joy. An unknown poet kept the first, third and last verse in as sets 1, 4 and 7 of the cantata in the text. He developed the sentences 2 and 3, aria and recitative from the second verse, sentence 5, another aria from the fourth stanza, and the last recitative from the fifth stanza. In the third set, he expanded the lyrics and provided a connection to the Gospel, by comparing the sin with the disease dropsy and it represented as also needs to be redeemed, " this sin dropsy is there to ruin and you will be fatal ." He played on Adam's fall to, from the arrogance out of wanting to be like God: " The arrogance ate the forbidden fruit from the anterior to be equal with God ."

Bach led the cantata on October 1, 1724 for the first time.

Scoring and structure

The cantata is staffed with four soloists, soprano, alto, tenor and bass, four-part choir, horn to amplify the Soprano in the chorale, Flauto traverso, two oboes, two violins, viola and basso continuo.

Music

In the opening chorus, a chorale fantasia, stream represents the contrasting aspects of the text, comfort and fear, in different subjects, which fall simultaneously occur in the instruments: a confident theme is derived from the song melody and appears in the oboe and the first violins, an anxious shivering is played by the second violins and continuo. The soprano, amplified by the horn, the song sings melody in long notes as a cantus firmus, while singing the lower parts depending on interpretation of the text and partly in expressive imitation, partly homophonic.

The first aria for alto with a virtuoso flute also highlights the contrary the anxious question, " Where is this Jammertale before my mind the refuge be?" And the central part of the trust " alone to Jesus father hands I will turn in weakness ", but returns the question back in the da capo form. The first recitative secco begins, but be the contrasting words " exalt " and " humiliated " from the Gospel highlighted as arioso. The central song verse is almost undecorated sung by the soprano and accompanied only by continuo. The alto aria shows confidence and is the only movement of the cantata in a major key. All the more does the minor staining to the words "It must indeed so once have died ." The cantata ends with a simple four-part chorale setting.

Recordings

  • The Bach Cantata Vol 52, Helmuth Rilling, Frankfurter Kantorei, Gächinger Kantorei, Bach-Collegium Stuttgart, Gabriele Schnaut, Julia Hamari, Kurt Equiluz, Wolfgang Schöne, Haenssler 1974/1981
  • J. S. Bach: The Complete Cantatas Kantatenwerk · · Les Cantates, sequence / Vol 28 - BWV 43-46, Gustav Leonhardt, Hannover Boys Choir, Leonhardt Consort, soloist of the Hannover Boys Choir, René Jacobs, Kurt Equiluz, Max van Egmond, Telefunken 1980
  • Bach Edition Vol 5 - Cantatas Vol 2, Pieter Jan Leusink, Holland Boys Choir, Netherlands Bach Collegium, Ruth Holton, Sytse Buwalda, Knut Schoch, Bas Ramselaar, Brilliant Classics 1999
  • J. S. Bach: Complete Cantatas Vol 12, Ton Koopman, Amsterdam Baroque Orchestra & Choir, Lisa Larsson, Annette Markert, Christoph Prégardien, Klaus Mertens, Antoine Marchand 2000
  • Bach Cantatas Vol 9: Lund / Leipzig / For the 17th Sunday after Trinity / For the 18th Sunday after Trinity, John Eliot Gardiner, Monteverdi Choir, English Baroque Soloists, Katharine Fuge, Charles Humphries, Mark Padmore, Stephan Loges, Soli Deo Gloria 2000
  • J. S. Bach: Cantatas Vol 25 - Cantatas from Leipzig 1724 - BWV 78, 99, 114, Masaaki Suzuki, Bach Collegium Japan, Yukari Nonoshita, Daniel Taylor, Makoto Sakurada, Peter Kooij UNTIL 2003
Johannes Gigas Rembrandt Bach-Werke-Verzeichnis Epistle to the Ephesians Bass (voice type) Homophone Knabenchor Hannover Leonhardt-Consort Peter Kooy Werner Neumann Christoph Wolff 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 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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