Barmherziges Herze der ewigen Liebe, BWV 185

Merciful heart of the Eternal Love ( BWV 185 ) is a church cantata by Johann Sebastian Bach. He composed it in 1715 in Weimar for the 4th Sunday after Trinity and first performed it on for the first time on July 14, 1715.

History and words

Bach was court organist in Weimar by Johann Ernst of Saxe- Weimar and was appointed on March 2, 1714 to the concert master. And, along with the task to perform a sacred cantata in the castle church monthly. Bach composed the cantata for the 4th Sunday after Trinity and first performed it on for the first time on July 14, 1715. He even dated " 1715 ".

The prescribed readings for the Sunday were Rom. 8:18-23 LUT, " All creation groans with us to the revelation of the sons of God," and Lk 6.36 to 42 LUT, the exhortation from the Sermon on the Mount, to be merciful and not be addressed. The cantata text was written by the court poet Salomon Franck for the occasion and published 1715 in Protestant devotional Opffer. Franck responded to the gospel, is reminiscent of the warnings and mentioned the pictures of the splinter in the eye of the brother and the blind man who wants to lead the blind. The last aria summarizes the exhortations together as "This is the Christian art." The cantata closes with the first stanza of Johann Agricola's chorale I call to you, Lord Jesus Christ (ca. 1530).

When Bach aufführte again the cantata in Leipzig on 20 June 1723 he transposed them from F sharp minor to G minor. He led in the same church, his fourth in Leipzig, his new cantata on an unstained mind after he had taken office as a cantor with two-piece cantatas with The meek ​​shall eat and The heavens declare the glory of God. Bach chorale edited the 1724 for the same reason to Choralkantate I call to you, Lord Jesus Christ.

Scoring and structure

Like other cantatas on words of Franck is the work of chamber music filled with four soloists, soprano, alto, tenor and bass, four-part choir only in the choral, oboe, bassoon, two violins, viola and basso continuo. In the Leipzig version plays a trumpet instead of the oboe cantus firmus of the chorale in the first sentence.

Music

The input duet is connected in two ways with the final chorale. The melody is played by the oboe line by line as a cantus firmus, with ornaments and dance 6/4-Takt. The first interval in the voices and continuo is the same as falling third at the beginning of the chorale. The Contra subject is a reflection of the theme, such as human compassion should reflect the divine.

The alto recitative is initially accompanied by strings and then goes into a Arioso with continuo. The alto aria has the richest instrumentation, with figured oboe solos. The text of the bass aria with continuo summarizes the admonitions of the Gospel in a long sentence, but Bach splits it into parts, which are introduced by " The Christian is art". The bass as the Vox Christi ( voice of Christ ) considers this sermon. In Leipzig, the continuo part was doubled up by the violins an octave. The final chorale is outshone by a fifth voice in the violin.

Recordings

  • The Bach Cantata Vol 42 Helmuth Rilling, Frankfurter Kantorei, Bach-Collegium Stuttgart, Arleen Augér, Hildegard Laurich, Aldo Baldin, Philippe Huttenlocher. Hänssler, 1976.
  • J. S. Bach: The cantatas - Sacred Cantatas Vol 10 Gustav Leonhardt, Tölz Boys Choir, Collegium Vocale Gent, Leonhardt Consort, soloist of the Tölz Boys' Choir, Paul Esswood, Kurt Equiluz, Thomas Hampson. Teldec, 1989.
  • J. S. Bach: Complete Cantatas Vol 1, Ton Koopman, Amsterdam Baroque Orchestra & Choir, Barbara Schlick, Kai Wessel, Guy de Mey, Klaus Mertens. Antoine Marchand, 1994.
  • J. S. Bach: Cantatas Vol 4, Masaaki Suzuki, Bach Collegium Japan, Midori Suzuki, Akira Tachikawa, Makoto Sakurada, Stephan Schreckenberger. BIS, 1994.
  • Bach Edition Vol 2 - Cantatas Vol 6, Pieter Jan Leusink, Holland Boys Choir, Netherlands Bach Collegium, Ruth Holton, Sytse Buwalda, Knut Schoch, Bas Ramselaar. Brilliant Classics, 1999.
  • Bach Cantatas Vol 3: Tewkesbury / Mühlhausen / For the 4th Sunday after Trinity / For the 5th Sunday after Trinity. John Eliot Gardiner, Monteverdi Choir, English Baroque Soloists, Magdalena Kožená, Nathalie Stutzmann, Paul Agnew, Nicolas Testé. Soli Deo Gloria, 2000.
  • Merciful heart of eternal love. Rudolf Lutz, choir and orchestra of the JS Bach Foundation, Regina cabbage, Alex Potter, Jens Weber, Markus Volpert. Pia Reinach ( reflection). 1 DVD, Gallus Media, St. Gallen.
Bach-Werke-Verzeichnis Johannes Agricola Bass (voice type) Leonhardt-Consort 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 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 Mein Herze schwimmt im Blut, BWV 199 Entfliehet, verschwindet, entweichet, ihr Sorgen, BWV 249a St Mark Passion (Bach)
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