Es ist nichts Gesundes an meinem Leibe, BWV 25

There is no soundness in my flesh ( BWV 25) is a church cantata by Johann Sebastian Bach. He composed it in Leipzig in 1723 for the 14th Sunday after Trinity and first performed it on for the first time on August 29, 1723.

History and words

Bach composed the cantata in 1723 in his first year in Leipzig for the 14th Sunday after Trinity.

The prescribed readings for the Sunday were from 5.16 to 24 Gal LUT Paul on "the works of the flesh and the fruit of the Spirit", and Luke 17:11-19 LUT, the healing of the ten lepers. According to Christoph Wolff comes the cantata text by Johann Jakob Rambach and appeared in 1720 in Halle "Spiritual Poems ". The poet refers to the gospel and compares the situation of people with the lepers. The disease first appears in words from Psalm 38, Psalm 38.4 LUT. As Julian Mincham observed dominate sin, decay, God's wrath and the decay of bones Lutheran theology in general and the opening chorus in particular. At the end of Theorem 3, Jesus is called with a request for healing. The last aria brings the hoped for thanks to sing in the choir of angels. The cantata ends with the twelfth verse of Johann Heermann's chorale Faithful God, I have to complain (1630 ) dir.

Scoring and structure

The cantata is staffed with three soloists, soprano, tenor and bass, four-part choir, and a full-color Orchestra: zinc, three trombones, three recorders, two oboes, two violins, viola and basso continuo.

Music

Similar to the previous week cantata composed Thou shalt the Lord thy God, love sets Bach in this cantata the instrumental quote of a complete chant in the opening chorus a. The melody is known to the words Herzlich tut me ask for my SELGEN End. But probably thought stream on the text O Lord, me, a poor sinner, whom he later in his chorale cantata O Lord, me, a poor sinner, BWV 135, used, a paraphrase of Psalm 6 The second verse begins: "Hail thou me, dear Lord because I am sick and weak. " Bach combined in a complex structure of an instrumental introduction, in which the chorale melody is in long notes in the continuo and is overlain by figuration in the strings and oboes, a vocal double fugue, and finally the chorale, played by a brass ensemble with the zinc as a soprano instrument that is an octave higher amplified by three recorders. John Eliot Gardiner feels the unusual self- trombone section as an anticipation of the finale of Beethoven's 5th Symphony.

The following three sets are accompanied only by the continuo. A new perspective opens up in sentence 5 in a dance music than Concerto by strings and oboe, answered by the flutes as an echo. The music refers to the words " of ascents 'll sing with the angels ." The final chorale is a simple four-part set.

Recordings

Bach-Werke-Verzeichnis Epistle to the Galatians Psalms Bass (voice type) Symphony No. 5 (Beethoven) Peter Kooy Peter Harvey (baritone) Werner Neumann 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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