Tritt auf die Glaubensbahn, BWV 152

Step on the path of faith ( BWV 152) is a church cantata by Johann Sebastian Bach. It was composed in Weimar for the Sunday after Christmas and performed it on December 30, 1714 for the first time on.

History and words

Bach wrote the cantata in his appointment as concertmaster at the court of Johann Ernst of Saxe -Weimar for the Sunday after Christmas. The prescribed readings in 1723 were Gal 4:1-7 LUT, " Through Christ, we are of age and free from the law ", and Lk 2.33 to 40 LUT, the words of Simeon and Hanna to Mary. The Gospel connects to the song of Simeon.

The cantata text was written by the court poet Salomon Franck, who published it in 1715 in the Protestant devotional Opffer. The Gospel refers to Isaiah 8.14 to 15 LUT, " a stone of stumbling and a rock of offense " and to Ps 118:22 LUT, " The stone which the builders rejected has become the cornerstone ." The poet looks at the type mentioned that God had laid the foundation stone and the person should not take offense to it. Jesus is addressed as the stone which surpasses all gems. The cantata text is structured as a dialogue between Jesus and the soul and ends with a love duet.

Bach led the cantata on December 30, 1714 on the first time.

Scoring and structure

The cantata is set for two vocal soloists ( soprano and bass), flute, oboe, viola d' amore, viola da gamba and basso continuo. Bach wrote in the score: "Concerto à 1 Flaut. 1 Hautb. 1 Viola d' Amour. 1 viola da gamba. Sopr. è Basso coll ' organo ".

Music

The cantata is intimate chamber music for two voices ( soprano and bass) and four solo instruments. Christoph Wolff describes the " colored and delicate occupation." The opening Sinfonia in two sections reminiscent of a French overture as meaningful a few weeks earlier come on stream in Well, der Heiden Heiland, BWV 61 was used. The theme of the fugue in Bach's Organ Fugue BWV similar to 536 The joint is one of the few instrumental fugues in Bach's cantatas.

The first aria is sung by the bass as the Vox Christi ( voice of Christ ), which invites you to enter the path of faith. He is accompanied by an obbligato oboe and illustrates the image of the web through scale figures. The recitative consists of two sections, according to the comparison of " evil world " - " Blessed Christ", in recitative and arioso. The words " on the case " is illustrated by a downward Dezimensprung. The second aria, sung by the soprano, seems like a prayer. The central part comprises only four bars, which is shortened Da capo. The voice is accompanied by recorder and viola d' amore.

The final duet, a love duet speak of Jesus and the soul is divided into sections, which are framed by parts of the ritornello. Initially Each section contains a dialogue, then a canon in the image of the unit.

Recordings

  • J. S. Bach: Cantatas 18 · 152 Jürgen Jürgens, Leonhardt Consort, Agnes Giebel, Jacques Villisech. Telefunken, 1964.
  • Bach Cantatas, Vol 3: BWV 63, 40, 152 Diethard Hellmann, Bach Orchestra Mainz, Agnes Giebel, Jakob Stämpfli. DDM Records Mitterteich, late 1960s?
  • The Bach Cantata Vol 64 Helmuth Rilling, Gächinger Kantorei, Bach-Collegium Stuttgart, Arleen Augér, Wolfgang Schöne. Hänssler, 1976.
  • J. S. Bach: The cantatas, Episode 37: BWV 152-156. Nikolaus Harnoncourt, Concentus Musicus Wien, soloist of the Tölz Boys' Choir, Thomas Hampson. Teldec, 1985.
  • J. S. Bach: Cantatas. Jérôme Lejeune, Ricercar Consort, Greta de Reyghere, Max van Egmond. Teldec, 1985.
  • J. S. Bach: Complete Cantatas Vol 2 Ton Koopman, Amsterdam Baroque Orchestra, Barbara Schlick, Klaus Mertens. Antoine Marchand, 1995.
  • J. S. Bach: Cantatas Vol 5 - Cantatas from Leipzig 1723 - BWV 18, 143, 152, 155, 161 Masaaki Suzuki, Bach Collegium Japan, Midori Suzuki, Peter Kooij. BIS, 1997.
  • Bach Edition Vol 15 - Cantatas Vol 14 Pieter Jan Leusink, Netherlands Bach Collegium, Ruth Holton, Bas Ramselaar. Brilliant Classics, 2000.
  • Bach Cantatas Vol 16: New York / For the Sunday after Christmas. John Eliot Gardiner, English Baroque Soloists, Gillian Keith, Peter Harvey. Soli Deo Gloria, 2000.
  • Bach: Cantatas · Dialogue dialogue cantatas. Rainer Kussmaul, Berlin Baroque Soloists, Dorothea Rosch Mann, Thomas Quasthoff. German Grammophon, 2007.
Bach-Werke-Verzeichnis Epistle to the Galatians Simeon (Gospel of Luke) Psalms Bass (voice type) Leonhardt-Consort Peter Kooy BIS Records Peter Harvey (baritone) Deutsche Grammophon 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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